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  </channel><item rdf:about="https://www.catranslation.org/sf-literary-hub/">
    <title>A New Cultural Anchor - CAT Center</title>
    <dc:date>2026-07-09T16:45:17+00:00</dc:date>
    <link>https://www.catranslation.org/sf-literary-hub/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For 26 years, the Center for the Art of Translation has brought the world’s voices to readers like you. We’ve made the work of literary translators visible through our award-winning book publisher Two Lines Press, by bringing poetry translation into classrooms through our education program, and by hosting hundreds of events with international authors and translators—all without a permanent home of our own.

That’s about to change."

[See also (embedded video):

"Center for the Art of Translation: A Literary Community Hub in San Francisco"
https://www.youtube.com/watch?v=mig1lA8aaJQ

"The Center for the Art of Translation (CAT) is launching a capital campaign to transform a historic building in San Francisco into a permanent literary home—a cultural anchor for a city that desperately needs places where people can gather around ideas, not algorithms. Help us create a public space where cultures and languages meet."

via:
https://lithub.com/the-center-for-the-art-of-translation-is-getting-a-permanent-home-in-san-francisco/ ]]]></description>
<dc:subject>2026 centerfortheartoftranslation sanfrancisco writing howwewrite classideas education reading howweread 2027 citylights jazminabarrera oliviasears literature fiction translation paulyamazaki michaelholtman aaroncoleman</dc:subject>
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    <title>At What Cost?</title>
    <dc:date>2026-06-05T09:42:43+00:00</dc:date>
    <link>https://2ndbreakfast.audreywatters.com/at-what-cost/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“What Do I Need To Get Done That I Don't Have To Think About?” asks historian Timothy Burke, pondering about the sorts of “mindless tasks” he’s supposed to gleefully hand over to “AI.” “This rhetoric drives me nuts because it is frequently offered without concrete existing examples,” he writes. “It’s always a vague, futureward offer made with no evident knowledge about what it is that most people actually do in work or in everyday life. As if, perhaps, the pitch is coming from billionaires who don’t have to do anything tedious except perhaps to order all those kinds of tasks to be done.”

It is mind-boggling to me that anyone, but especially the teachers’ labor union, would argue that any work an educator does is “mindless” or menial, that any work an educator does is the kind of task that one should automate if they don’t want to have to think about it. I’m not saying that teachers aren’t overworked -- good grief. Rather, I want to remind people that software is not a substitute for the kind of structural change necessary to improve everyone’s lives, in and around the classroom.

The kinds of tasks that I hear teachers being encouraged to offload to “AI” -- grading, lesson planning, communication with students and parents, design of handouts and other classroom material, IEPs -- are actually constitutive of the very work. These tasks -- and yes, some of them can be burdensome, time-consuming, annoying as hell -- are how you come to know the content, the community, the classroom, yourself and others. Nothing about teaching and learning should be thoughtless or careless the way in which “AI” promises thoughtlessness and carelessness as-a-service. Education isn’t comprised of tasks that should be automated; this isn’t work that needs to be made faster and cheaper. Teaching and learning are not something to be optimized or engineered like machinery, turned into the very “factory model of education” that Silicon Valley has spent decades inventing and positioning against.

If we’re worried about what the push-button classroom will do to students, we should probably stop demanding teachers become button-pushers as well."]]></description>
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    <title>How Physics is Like Poetry with Chanda Prescod-Weinstein - YouTube</title>
    <dc:date>2026-05-07T04:25:48+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_sY2bvKrW_M</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When the world gets to be too much, contemplating the endless wonder and beauty of the cosmos can be a huge relief. After all, we’re insignificant in the grand scale of space and time. But cosmic thinking can also teach us so much about ourselves. This week, Adam sits with Chanda Prescod-Weinstein, professor of physics and faculty member in women’s and gender studies at the University of New Hampshire, to talk about the truths we uncover about ourselves when we search for the truths of the universe. Find Chanda’s new book, The Edge of Space-Time: Particles, Poetry, and the Cosmic Dream Boogie"]]></description>
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<item rdf:about="https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY">
    <title>Sara Hendren: Who Is the Built World Actually Built For? - Art of Inquiry | Podcast on Spotify</title>
    <dc:date>2026-05-05T14:11:09+00:00</dc:date>
    <link>https://open.spotify.com/episode/11zlpahmklfgr8YOUrtLnY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sara Hendren didn't start out in engineering. She started as a visual artist, then moved into cultural history, studying objects, artifacts, and what they say about the world that made them. Then life brought her into pediatric spaces filled with a new kind of object: gadgets and tools designed for a child's body, yes, but also doing quiet therapeutic work, covered in butterflies and bugs, useful and expressive all at once. She found herself asking: what is an object broadcasting beyond its user? What does it mean that eyeglasses get sold as fashion while hearing aids are hidden away as clinical? That was the moment everything snapped together, her training in the history of artifacts, the politics of disability, and the material culture of prosthetics all converging at once. In this free-flowing conversation, Sara walks us through the space between mechanical design and design for expression, why the logical and meticulous side of making art and the creative side of meaningful engineering are really the same instinct. As the world asks more and more from its engineers, Sara brings it all back to a question that feels more urgent than ever: can a designed object change not just how we move through the world, but how we see it?"

[via:
https://ablerism.micro.blog/2026/04/29/i-had-fun-speaking-on.html

"I had fun speaking on the Art of Inquiry, a podcast created by two Northeastern engineering students interested in the arts and humanities. My strange career path, my mentor Krzysztof Wodiczko introducing me to interrogative design, raising a child with Down syndrome, studio + lab culture, more."]]]></description>
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<item rdf:about="https://www.publicbooks.org/courage-or-foolhardiness-talking-aime-cesaire-with-alex-gil/">
    <title>“Courage or Foolhardiness”: Talking Aimé Césaire with Alex Gil - Public Books</title>
    <dc:date>2026-04-10T04:47:27+00:00</dc:date>
    <link>https://www.publicbooks.org/courage-or-foolhardiness-talking-aime-cesaire-with-alex-gil/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>aimécésaire alexgil marlenedaut 2026 françoisvergès haiti caribbean translation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:70b9b6eca3cb/</dc:identifier>
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<item rdf:about="https://electricliterature.com/a-poetry-collection-where-play-collapses-the-limits-of-language/">
    <title>A Poetry Collection Where Play Collapses the Limits of Language - Electric Literature</title>
    <dc:date>2026-04-01T03:52:35+00:00</dc:date>
    <link>https://electricliterature.com/a-poetry-collection-where-play-collapses-the-limits-of-language/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Anna Nygren’s “blush / river / fox” is a foray into the exuberant capacities of multilingual writing"]]></description>
<dc:subject>annanygren poetry writing howwewrite editing language translation swedish english morissayoung collaboration bodies senses multispecies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://milkweed.org/book/blush-river-fox">
    <title>blush / river / fox | Milkweed Editions</title>
    <dc:date>2026-04-01T03:50:23+00:00</dc:date>
    <link>https://milkweed.org/book/blush-river-fox</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A raw, sweeping debut collection that interrogates the limits of the human animal and confronts the boundary between fear and freedom.

The startling English-language debut of Swedish polymath Anna Nygren is at once a domestic autistic ethnography, a more-than-human erotic pastoral, and an illustrated choreography of bewilderment. Willful misspellings and created constructions open language up to play, with phrases existing somewhere between English and Swedish to de-pathologize speech and thought. This fairy-tale treatise on otherness interweaves Nygren’s own inimitable illustrations to visualize the idea that writing can be closer to a drawing of words than speaking. “We know yet nothing,” they write. “We whisper it in the night / We are the pride glittering.”

Sensory and sensual perception mesh through the liquid movement of the book’s three parts as the speaker queers the notion of difference, exploring fraught ideas of gender and identity by tapping into the profane and the physical body. blush, hungry and dysphoric and tied inextricably to family memory, begins rooted in the corporeal before moving outside of it, calculating the speaker’s orientation to others and to the world. fox, meeting love with violence, characterizes pain with short, dissonant syntax and finds reprieve in the cover of forest. And between forest and family is translation, river, which simultaneously stitches together and tears apart as it bears witness to the epistemology of becoming.

Wholly unique, a being all its own, blush / river / fox paws on the door of our eye, our heart, our ear: “LET ME IN / the Fox whispers.”"]]></description>
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<item rdf:about="https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/">
    <title>Can Language Be a Game? Anna Nygren Thinks So</title>
    <dc:date>2026-04-01T03:50:05+00:00</dc:date>
    <link>https://www.killscreen.com/anna-nygren-blush-river-fox-language-as-play/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Swedish writer Anna Nygren's blush / river / fox treats language like a game system—where translation gaps become mechanics and meaning emerges from interplay, not definition."]]></description>
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    <title>Substack's Stacked Debates: Utopia - Should Robots take our jobs? - YouTube</title>
    <dc:date>2026-01-01T04:26:57+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Substack's Stacked Debates: Utopia - Should Robots take our jobs?
Noah Smith vs. Brian Merchant"]]></description>
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<item rdf:about="https://yalereview.org/article/dan-fox-learning-welsh">
    <title>The Yale Review | Dan Fox: “What Happened When I Began to Speak Welsh”</title>
    <dc:date>2025-12-30T20:28:24+00:00</dc:date>
    <link>https://yalereview.org/article/dan-fox-learning-welsh</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By learning my family's language, I hoped to join their conversation."]]></description>
<dc:subject>language welsh wales 2025 languagelearning learning conversation bilingualism england uk history song music lullabies melancholy sound memory memories inheritance culture translation nationalism languages saunderslewis resistance colonialism colonization tradition rhodgilbert duolingo context johnlecarré friendship connection saysomethingin languageacquisiton howwelearn discovery</dc:subject>
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<item rdf:about="https://www.nieblasf.com/">
    <title>Niebla | Niebla SF (ES)</title>
    <dc:date>2025-12-01T20:44:06+00:00</dc:date>
    <link>https://www.nieblasf.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["¿Quiénes somos?

Niebla es una librería que busca crear comunidad alrededor de la lectura. El catálogo es un mosaico compuesto por editoriales, en su mayoría independientes, que hacen un trabajo importantísimo promoviendo voces nuevas y clásicas de Latinoamérica y sus diversos entrecruces.
San Francisco ya lee en español

Nuestra misión es darle espacio a la palabra impresa en esta realidad sobredigitalizada sumándonos al ecosistema librero de San Francisco, además de amplificar y diseminar puntos de vista expresados a través de los libros. Creemos que la literatura alimenta espíritus y que las conversaciones entre diferentes voces son necesarias para lograr una convivencia más empática.
Por el gusto de compartir libros

Leer es un placer y aunque en muchas ocasiones es un viaje solitario,también nos interesa enfatizar su lado social a través de presentaciones, círculos de lectura y discusiones a partir de y sobre libros.

Ya sea que leas vorazmente, casualmente o que sientas curiosidad por la literatura, esperamos que este espacio polifónico te invite a disfrutar y dialogar con nuevas y fascinantes voces."

[See also:
https://www.instagram.com/niebla.sf/

via:
https://missionlocal.org/2025/12/sf-tenderloin-buzz-matcha-market-bookstore/

"Niebla Librería, a Spanish language bookstore, plans to open in January with a collection focused on original writing from Latin America, as well as works in translation.

After some time hosting pop-up shops, Niebla will settle in at 374 Golden Gate Ave. They have four booksellers, one of whom is a cat named Fausto."]]]></description>
<dc:subject>sanfrancisco books bookstores booksellers spanish español literature translation tenderloin cats</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=lUxf7Sfqxsk">
    <title>What Whales Can Teach Us About Talking to Aliens | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-28T22:51:13+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lUxf7Sfqxsk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’ve spent decades beaming radio waves into space listening for an answer. But it might be enough to start here on Earth, or more accurately, under the seas. Sperm whales live in complex clans and communicate in rapid-fire clicks. Even if we could decode their messages, is it safe to assume they want to talk to us? What, exactly, would we have to say to them?

The Cetacean Translation Initiative – CETI for whales not SETI for E.T. – is considering the implications of AI translation tools for the ocean’s depths. In this episode of Futurology, CETI Founder David Gruber joins Claire Webb – the director of the Berggruen Institute's Future Humans program – to explore what it means to approach another intelligence with humility rather than conquest. In the end, creating a direct linguistic connection with another species may be yet another white whale that humanity should abandon as folly. For Gruber, the point isn’t fluency. It’s learning to speak more softly on a planet filled with minds we’ve barely begun to meet.

Chapters
Introduction (0:00)
David’s Journey to Becoming a Marine Biologist (1:44)
Bioluminescence, Biofluorescence, and Deep Sea Life (7:32)
Discovering Biofluorescence in Sharks (21:06)
The Evolutionary Story of Whales (29:12)
How Sperm Whales Make Sound (31:53)
Whale Songs—The Sirens of the Sea (36:16)
How Whale Songs are Recorded (42:53)
Accents and Dialects in Whale Communication (45:30)
Vladimir Nabokov and the Art of Translation (52:06)
The Challenge of Inhabiting an Alien Consciousness (56:56)
How Machine Learning Can Help Us Understand Whales (1:04:42)
If We Can Translate Whales, Can We Translate Extraterrestrials? (1:09:46)

Resources

Aglow in the Dark: The Revolutionary Science of Biofluorescence — David Gruber & Vincent Pieribone (Book, 2005)
https://www.bibliovault.org/BV.book.epl?ISBN=9780674024137

The Art of Translation — Vladimir Nabokov (Essay, 1941)
https://newrepublic.com/article/113310/vladimir-nabokov-art-translation

Songs of the Humpback Whale — Roger Payne & Scott McVay (Scientific Article, 1970)
https://www.science.org/doi/10.1126/science.173.3997.585

Songs of the Humpback Whale — Roger Payne & Frank Watlington (Audio Recording, 1970)
https://open.spotify.com/album/5h96FXOFTdfJxanqdzoczd?nd=1&dlsi=7740e03967f04b0d

Follow David Gruber: 
@davidfgruber
https://www.davidgruber.com/

Follow Project CETI
Instagram:   / projectceti  
LinkedIn:   / project   CETI
Twitter/X: https://x.com/ProjectCETI
YouTube:    / projectceti  
TikTok: https://www.tiktok.com/projectceti "]]></description>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:7e9f8445fee5/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=3LnHruJPPsY">
    <title>Against Brainrot — how to read &amp; write more online - YouTube</title>
    <dc:date>2025-11-17T19:36:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=3LnHruJPPsY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["People are panicking about the literacy crisis, about waning attention spans and why technology is making everything worse. But some people — like writer, software designer, and literary critic Celine Nguyen — have managed to not only retain their engagement with art and culture and literature, but actually deepen it with the help of the internet and social media.

In this conversation, Celine talks through how she went from tech to art school, taught herself to be a literary critic, and learned to love social media, Substack, and AI. 

[00:00:00] Jumping from Silicon Valley to the art world
[00:11:00] The internet and “research as leisure activity”
[00:26:34] Contrarian optimism about AI and art
[00:48:57] How can we measure progress in culture?
[01:04:47] Celine’s personal tech/media habits

Follow Celine's work at personalcanon.com and Jasmine at jasmi.news."

[transcript:
https://jasmi.news/p/celine-nguyen

notes here too:
https://www.personalcanon.com/p/ten-thousand-takes-on-tech-culture ]]]></description>
<dc:subject>celinenguyen jasminesun art literacy literature technooptimism siliconvalley optimism contrarianism ai artificialintelligence progress culture media technology internet web online substack socalmedia literarycriticism humanities philosophy compsci walterbenjamin specialization howweread howwewrite karlmarx dialecticalmaterialism davidharvey reading education learning howwelearn criticaltheory stanford communication access accessibility sensemaking makingsense generalists lingo translation jargon ideology worldview disruption information knowledge abstraction decontextualization algorithms amateurs research amateurism zeyneptufekci extremism context discovery writing geography radicalization venkateshrao consciousness metrics analytics socialmedia discourse conversation attention creativity forums hierarchy llms slop aislop economics ecosystems commercialart culturalproduction publishing excess</dc:subject>
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<item rdf:about="https://yalebooks.yale.edu/book/9780300272741/we-computers/">
    <title>We Computers: A Ghazal Novel, by Hamid Ismailov, translated by Shelley Fairweather-Vega (2025)</title>
    <dc:date>2025-11-14T06:52:40+00:00</dc:date>
    <link>https://yalebooks.yale.edu/book/9780300272741/we-computers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A multilayered exploration of poetry, authorship, and digital intelligence by “a writer of immense poetic power” (The Guardian)
 
Finalist, 2025 National Book Award, Translated Literature
 
“Many paths cross in Ismailov’s beautiful new work—poetry, history and the infinite imagination. Every path winding into another. Every path worth taking.”—Patti Smith
 
In the late 1980s, French poet and psychologist Jon‑Perse finds himself in possession of one of the most promising inventions of the century: a computer. Enchanted by snippets of Persian poetry he learns from his Uzbek translation partner, Abdulhamid Ismail, Jon-Perse builds a computer program capable of both analyzing and generating literature. But beyond the text on his screen there are entire worlds—of history, philosophy, and maybe even of love—in the stories and people he and AI conjure.
 
Hamid Ismailov brings together his work as a poet, translator, and student of literature of both East and West to craft a postmodern ode to poetry across centuries and continents. Crossing the poètes maudits with beloved Sufi classics, blending absurdist dreams with the life of the famed Persian poet Hafez, moving from careful mathematical calculations to lyrical narratives, Ismailov invents an ingenious transnational poetics of love and longing for the digital age. Situated at the crossroads of a multilingual world and mediated by the unreliable sensibilities of digital intelligence, this book is a dazzling celebration of how poetry resonates across time and space."

[See also:

"We Computers: A Conversation with Hamid Ismailov and Shelley Fairweather-Vega"
https://yalebooks.yale.edu/2025/08/19/we-computers-a-conversation-with-hamid-ismailov-and-shelley-fairweather-vega/ ]]]></description>
<dc:subject>toread 2025 maidismailov computers computing writing howwewrite poetry ai artificialintelligence shelleyfairweather-vega technology translation ghazal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:56d9bac6379a/</dc:identifier>
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</item>
<item rdf:about="https://bigthink.com/high-culture/ken-liu-ai-art/">
    <title>The cinematograph, the &quot;noematograph,&quot; and the future of AI art - Big Think</title>
    <dc:date>2025-11-06T05:18:52+00:00</dc:date>
    <link>https://bigthink.com/high-culture/ken-liu-ai-art/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hugo-winning author Ken Liu explores what early cinema and Chinese poetry can teach us about AI’s potential as a new artistic medium."

...

"Key Takeaways

• The birth of cinema shows how new technologies often begin with limited applications but hold unforeseen potential for creative expression. 

• AI may become an artistic medium for exploring and playing with subjectivities, such as offering new ways to interpret and interact with poems and translations. 

• The evolution of artistic mediums, from cinema to AI, underscores the importance of experimentation and play in uncovering their transformative possibilities."]]></description>
<dc:subject>kenliu cinematograph cinema experimentation ai artificialintelligence poems poetry translation 2025 creativity expression georgesméliès noematograph augustelumière louislumière lumièrebrothers movement history narrative film filmmaking timeberners-lee tiktok chatgpt youtube llms language chenzi'ang wuzetian interpretation howwewrite writing languages machinelearning emilywilson subjectivity aiart art arts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4789f48f5fb2/</dc:identifier>
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    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://thebaffler.com/odds-and-ends/brain-rot-without-borders-forum">
    <title>Brain Rot Without Borders | Baffler Forum</title>
    <dc:date>2025-10-31T21:29:33+00:00</dc:date>
    <link>https://thebaffler.com/odds-and-ends/brain-rot-without-borders-forum</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dispatches from a postliterate world"]]></description>
<dc:subject>2025 brainrot literacy postliteracy howweread reading chatgpt ai artificialintelligence internet web online socialmedia nicolásmedinamora zhangtueran jeremytiang china kimhyesoon jacksaebyokjung korea us poetry alainmabanckou helenstevenson france writing howwewrite yassinadnan alextan arabworld middleeast northafrica illiteracy islam morocco language tiktok facebook whatsapp instagram translation abdelazizbarakasakin lemyashammat sudan arabic valeriavillalobosguízar emforster mexico annettehug ukraine gemini post-literacy</dc:subject>
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    <dc:date>2025-10-26T19:13:13+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["An alternative subtitle for this piece is Diidxa’ rului’ ca neza — translated from the author’s mother tongue, this means ‘the word that shows the way’."]]></description>
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<item rdf:about="https://jimrion.com/2025/09/30/translating-strange-houses/">
    <title>Translating Strange Houses – Jim Rion – Translator &amp; Writer</title>
    <dc:date>2025-10-16T18:54:59+00:00</dc:date>
    <link>https://jimrion.com/2025/09/30/translating-strange-houses/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://www.robinsloan.com/newsletters/long-rush/ ]]]></description>
<dc:subject>jimrion translation japanese uketsu 2025 writing howwewrite</dc:subject>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI could satisfy our deeply held desire to talk to other creatures. But the potential for harm might outweigh the benefits"]]></description>
<dc:subject>animals ai artificialintelligence ethics virginiesimonaeau-gilbert leoniebossert 2025 translation human-animalrelations human-animalrelationships multispecies morethanhuman birds communication wildlife nature conslobodchikoff chickens cows corvids crows langauge suedonaldson willkymlicka philosophy interspecies democracy decisionmaking tommustill science biology psychology marthanussbaum markrowlands principles whales cetaceans prariedogs</dc:subject>
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<item rdf:about="https://aeon.co/videos/what-would-it-mean-if-we-were-able-to-speak-with-whales">
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    <dc:date>2025-10-16T17:05:55+00:00</dc:date>
    <link>https://aeon.co/videos/what-would-it-mean-if-we-were-able-to-speak-with-whales</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Until the 1950s, when ‘whale songs’ were first captured by US underwater surveillance systems during the Cold War, whales were widely thought to be mute. This discovery changed how humans view these creatures and influenced how we treated them, helping to drive campaigns for whaling bans and long-term conservation efforts. In this conversation, hosted by the cosmologist Janna Levin at Pioneer Works in New York City, the biologist David Gruber and the comparative anatomist Joy S Reidenberg discuss how our understanding of whale communication has developed over the decades. This includes Gruber’s work as the founder and president of Project CETI (Cetacean Translation Initiative), which is using emerging technologies to decode sperm whale communication, and may one day make an interspecies dialogue possible."

[Direct link to video:

https://www.youtube.com/watch?v=ZfBptSzJgOs ]]]></description>
<dc:subject>whales cetaceans 1950s us surveillance coldwar audio recordings jannalevin davidgruber 2025 projectceti translation joyreidenberg biology animals wildlife nature multispecies morethanhuman human-animalrelations human-animalrelationships conversation conservation ceti</dc:subject>
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<item rdf:about="https://chireviewofbooks.com/2025/10/06/the-translators-voice-ann-goldstein-on-translating-elena-ferrantes-neapolitan-quartet/">
    <title>The Translator’s Voice — Ann Goldstein on Translating Elena Ferrante’s “Neapolitan Quartet” - Chicago Review of Books</title>
    <dc:date>2025-10-09T15:30:11+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Ann Goldstein on her origin story as a translator, reading and rereading, and Elena Ferrante's universal appeal"]]></description>
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<item rdf:about="https://jasmi.news/p/mills-baker">
    <title>infinite cornucopia (ft. mills baker)</title>
    <dc:date>2025-09-26T01:33:38+00:00</dc:date>
    <link>https://jasmi.news/p/mills-baker</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["literacy crisis, humans vs. LLMs, parenting after AGI"

[on YouTube:
https://www.youtube.com/watch?v=KcO6-1tFi88

"Today’s podcast features the brilliant and singular Mills Baker. Formally, he’s the Head of Design at Substack, where we met, and also fallibilist, New Orleanian, and OG blogger extraordinaire. 

Among other things, we discuss:

0:00:32 is text dead?
0:26:00 the case for novels + incel lit
0:45:12 debating LLMs vs. human cognition
1:01:44 parenting for a post-AGI world
1:08:44 reasons for & against writing
1:20:05 girardian scapegoating

Transcript: https://jasmi.news/p/mills-baker "]]]></description>
<dc:subject>jasminesun millsbaker 2025 literacy media medialiteracy text reading howweread internet web online tv television technology llms agi artificialgeneralintelligence humans ai artificialintelligence books oraltradition argument communication closereading parenting renégirard video performance interpersonal debate socialmedia tiktok vibes vine hedging howwewrite radio notknowing incels knowing insecurity thinking howwethink philosophy wiriting substack confidence claude intelligence anthropic chatgpt openai textsupremacy literature novels empathy humancondition psychology kylechayka instagram genz generationz zoomers guilt shame leszekkolakowski objectivity objectivism rationalism film lmsacasas daviddeutsch karlpopper orality secondaryorality walterong culture science scientifictheory emotions relativism translation automatictranslation cslewis georgemacdonald samaltman conext interpretation education edtech art milankundera innermonologues tonytulathimutte transcendentalism reality humility disagreement dwar</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=CFaTxvlMWuY">
    <title>The Wisdom of Not Knowing (with Pico Iyer and Nathan Gardels) - YouTube</title>
    <dc:date>2025-09-16T17:16:11+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CFaTxvlMWuY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We live in a culture hooked on speed and certainty. Hot takes, quick fixes, and algorithms that claim to know us better than we know ourselves. Yet despite all the information at our fingertips, the world seems to make less sense by the day.

In this episode, renowned travel writer Pico Iyer describes how globalization – which offered up the mirage of a global monoculture – has instead led to a clash of civilizations and identity. For Pico, wisdom resides not in mastery but in doubt. From his decades of constant travel to his retreats in silence, Iyer describes how humility and stillness can open a clearer view of the world than certainty ever could.

Chapters
0:00 Intro
2:15 What’s in a Name
4:28 Travel and Stillness
7:19 The Contemplative Life
9:02 The Mirage of Globalization
14:06 The Inward Clash of Civilizations
17:36 The Nation of No Nation
24:24 The Return of the Strong Gods
26:54 Science, Spirituality, and the Dalai Lama
31:36 Leonard Cohen and the Half-Known Life
40:50 Ego and Undeludedness
43:00 Living in the Moment
46:41 Fire and Impermanence
52:19 The Danger of Certainty"]]></description>
<dc:subject>picoiyer 2025 nathangardels dawnnakagawa travel zoominginandout wisdom modernity global local stillness globalization place science dalailama ego undeludedness presence impermanence certainty uncertainty notknowing knowing knoweledge sameness silence humility speed slow monasteries bigsur attention retreats monoculture diversity doubt christianity buddhism hinduism islam judaism theosophy names naming religion benadictines self memory quiet insight experience meaning meaningmaking movement perspective byung-chulhan contemplation interiority world informationage communication moevement harukimurakami japan west westernization culture turkey iran russia china differences smallness distance howweread understanding depth nepal materialism affluence 1986 pacificcentury bollywood baseball india 1985 1980s civilization society multiculturalism barackobama malcolmgladwell zadiesmith naomiosaka 1983 shinto surfaces palestine israel us uk popculture translation history context politics emotion identity technology econo</dc:subject>
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</item>
<item rdf:about="https://lareviewofbooks.org/article/on-translation-fiction-and-the-comfort-of-monolingualism/">
    <title>On Translation Fiction and the Comfort of Monolingualism | Los Angeles Review of Books</title>
    <dc:date>2025-09-16T05:05:29+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/on-translation-fiction-and-the-comfort-of-monolingualism/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Marie Lambert analyzes recent works of fiction that feature translators as protagonists, and the questions they raise about cross-cultural communication in a heterogeneous world."]]></description>
<dc:subject>translation 2025 marielambert communicztion heterogeneity literature translationfiction rfkuang ayeshamanazirsiddiqi jennifercroft us english writing howwewrite katiekitamura genre lediaxhoga olgatokarczuk irenarey</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1757833725f4/</dc:identifier>
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<item rdf:about="https://www.artforum.com/features/yuk-hui-daniel-birnbaum-interview-1234733869/">
    <title>Yuk Hui in Conversation with Daniel Birnbaum</title>
    <dc:date>2025-09-05T18:08:56+00:00</dc:date>
    <link>https://www.artforum.com/features/yuk-hui-daniel-birnbaum-interview-1234733869/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yuk Hui speaks with Daniel Birnbaum about his philosophy of technology"

...

"“IF A PHILOSOPHY of the future exists,” claimed Michel Foucault in a conversation with Zen monks, “it must be born outside of Europe or it must be born of encounters and reverberations between Europe and non-Europe.” As John Rajchman emphasizes in his introduction to The Japan Lectures: A Transnational Critical Encounter (2024), an anthology of lectures and interviews given by Foucault during a 1978 trip to Japan, such a philosophy can no longer be based on a master thinker in any one country or language. “On the contrary,” he writes, “it will require many languages, places, and civilizations at once, brought together not by a higher truth or supervenient method, but instead by a constant agitation, ever renewed, punctuated by unpredictable ‘events.’”

The Chinese philosopher Yuk Hui’s writings on the philosophy of technology offer such an ongoing agitation, bringing together conceptual schemes from an array of intellectual traditions—Chinese, Japanese, European, and American. His leitmotif, an understanding of what the Greeks called techne, seems more urgent than ever. Influential voices in philosophy and critical theory, such as the Frankfurt School’s key representatives, established an attitude so fundamentally techno-skeptical that any form of affirmation, let alone enthusiasm, had to appear at best naive. The essence of technological reason, we were told, lies in hegemonic control and the totalitarian exploitation of nature. Its distancing effects make it an enemy of more authentic forms of experience, like that of great art. For Martin Heidegger—a thinker on the other extreme of the political spectrum from the Frankfurt School—what in German is called Technik represented the ultimate threat. 

The art world’s dominant attitude toward modern technology has hardly been one of enthusiasm either, even if the twentieth century saw moments of techno-optimism—from Italian Futurism and Russian Constructivism to the 1960s art and technology movement. Today, techno visionaries, such as Laurie Anderson and Cao Fei, are exploring the poetic possibilities of the latest digital tools. 

At a moment when we cannot imagine a world without accelerating technologies, it seems to me that we need thinkers like Yuk Hui to help us navigate the one we have."]]></description>
<dc:subject>yukhui philosophy technology danielbirnbaum 2025 michelfoucault heidegger caofei laurieanderson futurism russianconstructivism constuctivism technooptimism johnrajchman criticaltheory art gilbertsimondon bernardstiegler janpatočka kitarōnishida russocentrism us sinocentrism jacquesderrida eurocentrism china japan aleksanderdugin modernity thomashobbes carlschmitt hegel vladimirputin politics apocalypse ai artificialintelligence robots robotics climate climatechange environment globalwarming theodoradorno jean-françoislyotard walterbenjamin friedrichkittler vr virtualreality nfts metaverse chatgpt llms transhumanism tescreal juliecurtiss minitel hansulrichobrist philippeparreno technodiversity cosmotechnics technics modernization translation culture society west thinking howwethink noodiversity biodiversity paleontology archaeology johncage glenngould marshallmcluhan raykurzweil singularity italianfuturists italianfuturism foucault nerdreich singularitarianism extropianism rationalism cosmism longterm</dc:subject>
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<item rdf:about="https://www.bloodinthemachine.com/p/ai-killed-my-job-translators">
    <title>AI Killed My Job: Translators - by Brian Merchant</title>
    <dc:date>2025-08-21T21:28:11+00:00</dc:date>
    <link>https://www.bloodinthemachine.com/p/ai-killed-my-job-translators</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Few industries have been hit by AI as hard as translation. Rates are plummeting. Work is drying up. Translators are considering abandoning the field, or bankruptcy. These are their stories."]]></description>
<dc:subject>translation ai artificialintelligence automation brianmerchant 2025 language googletranslate chatgpt openai machinelearning siliconvalley llms deepl mtpe aislop slop technology freelance freelancers klaviyo braze communication writing howwewrite work labor</dc:subject>
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<item rdf:about="https://www.wheresyoured.at/the-haters-gui/">
    <title>The Hater's Guide To The AI Bubble</title>
    <dc:date>2025-07-21T21:32:16+00:00</dc:date>
    <link>https://www.wheresyoured.at/the-haters-gui/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Follow-up here:

"Premium: The Hater's Guide To The AI Bubble Vol. 2"
https://www.wheresyoured.at/premium-the-haters-guide-to-the-ai-bubble-vol-2/ ]

"We are in a bubble. Generative AI does not do the things that it's being sold as doing, and the things it can actually do aren't the kind of things that create business returns, automate labor, or really do much more than one extension of a cloud software platform. The money isn't there, the users aren't there, every company seems to lose money and some companies lose so much money that it's impossible to tell how they'll survive.

Worse still, this bubble is entirely symbolic. The bailouts of the Great Financial Crisis were focused on banks and funds that had failed because they ran out of money, and the TARP initiative existed to plug the holes with low-interest loans.

There are few holes to plug here, because even if OpenAI and Anthropic somehow became eternal money-burners, the AI trade exists based on the continued and continually-increasing sale and use of GPUs. There are limited amounts of capital, but also limited amounts of data centers to actually put GPUs, and on top of that, at some point growth will slow at one of the Magnificent 7, at which point costs will have to come down from things that lose them tons of money, such as generative AI."

...

"I am worried because despite all of these obvious, brutal and near-unfixable problems, everybody is walking around acting like things are going great with AI. The New York Times claims everybody is using AI for everything — a blatant lie, one that exists to prop up an industry that has categorically failed to deliver the innovations or returns that it promised, yet still receives glowing press from a tech and business media that refuses to look outside and see that the sky is red and frogs are landing everywhere.

Other than the frog thing, I'm not even being dramatic. Everywhere you look in the AI trade, things get worse — no revenue, billions being burned, no moat, no infrastructure play, no comparables in history other than the dot com bubble and WeWork, and a series of flagrant lies spouted by the powerful and members of the press that are afraid of moving against market consensus.

Worse still, despite NVIDIA's strength, NVIDIA is the market's weakness, through no fault of its own, really. Jensen Huang sells GPUs, people want to buy GPUs, and now the rest of the market is leaning aggressively on one company, feeding it billions of dollars in the hopes that the things they're buying start making them a profit.

And that really is the most ridiculous thing. At the center of the AI trade sits GPUs that, on installation, immediately start losing the company in question money. Large Language Models burn cash for negative returns to build products that all kind of work the same way.

If you're going to say I'm wrong, sit and think carefully about why. Is it because you don't want me to be right? Is it because you think "these companies will work it out"? This isn't anything like Uber, AWS, or any other situation. It is its own monstrosity, a creature of hubris and ignorance caused by a tech industry that's run out of ideas, built on top of one company.

You can plead with me all you want about how there are actual people using AI. You've probably read the "My AI Skeptic Friends Are All Nuts" blog, and if you're gonna send it to me, read the response from Nik Suresh first. If you're going to say that I "don't speak to people who actually use these products," you are categorically wrong and in denial.

I am only writing with this aggressive tone because, for the best part of two years, I have been made to repeatedly explain myself in a way that no AI "optimist" is made, and I admit I resent it. I have written hundreds of thousands of words with hundreds of citations, and still, to this day, there are people who claim I am somehow flawed in my analysis, that I'm missing something, that I am somehow failing to make my case.

The only people failing to make their case are the AI optimists still claiming that these companies are making "powerful AI." And once this bubble pops, I will be asking for an apology.
I Don't Like What's Happening

I love ending pieces with personal thoughts about stuff because I am an emotional and overly honest person, and I enjoy writing a lot.

I do not, however, enjoy telling you at length how brittle everything is. An ideal tech industry would be one built on innovation, revenue, real growth based on actual business returns that helped humans be better, not outright lie about replacing them. All that generative AI has done is show how much lust there is in both the markets and the media for replacing human labor — and yes, it is in the media too. I truly believe there are multiple reporters who feel genuine excitement when they write scary stories about how Dario Amodei says white collar workers will be fired in the next few years in favour of "agents" that will never exist.

Everything I’m discussing is the result of the Rot Economy thesis I wrote back in 2023 — the growth-at-all-costs mindset that has driven every tech company to focus on increasing quarterly revenue numbers, even if the products suck, or are deeply unprofitable, or, in the case of generative AI, both.

Nowhere has there been a more pungent version of the Rot Economy than in Large Language Models, or more specifically GPUs. By making everything about growth, you inevitably reach a point where the only thing you know how to do is spend money, and both LLMs and GPUs allowed big tech to do the thing that worked before — building a bunch of data centers and buying a bunch of chips — without making sure they’d done the crucial work of “making sure this would create products people like.” As a result, we’re now sitting on top of one of the most brittle situations in economic history — our markets held up by whether four or five companies will continue to buy chips that start losing them money the second they’re installed.

I am disgusted by how many people are unwilling or unable to engage with the truth, favouring instead a scornful, contemptuous tone toward anybody who doesn't believe that generative AI is the future. If you are a writer that writes about AI smarmily insulting people who "don't understand AI," you are a shitty fucking writer, because either AI isn't that good or you're not good at explaining why it's good. Perhaps it's both.

If you want to know my true agenda, it's that I see something in generative AI and its boosters something I truly dislike. Large Language Models authoritatively state things that are incorrect because they have no concept of right or wrong. I believe that the writers, managers and executives that find it exciting do so because it gives them the ability to pretend to be intelligent without actually learning anything, to do everything they can to avoid actual work or responsibility for themselves or others.

There is an overwhelming condescension that comes from fans of generative AI — the sense that they know something you don't, something they double down on. We are being forced to use it by bosses, or services we like that now insist it's part of our documents or our search engines, not because it does something, but because those pushing it need us to use it to prove that they know what's going on.

To quote my editor Matt Hughes: "...generative AI...is an expression of contempt towards people, one that considers them to be a commodity at best, and a rapidly-depreciating asset at worst."

I haven't quite cracked why, but generative AI also brings out the worst in some people. By giving the illusion of labor, it excites those who are desperate to replace or commoditize it. By giving the illusion of education, it excites those who are too idle to actually learn things by convincing them that in a few minutes they can learn quantum physics. By giving the illusion of activity, it allows the gluttony of Business Idiots that control everything to pretend that they do something. By giving the illusion of futurity, it gives reporters that have long-since disconnected from actual software and hardware the ability to pretend that they know what's happening in the tech industry.

And, fundamentally, its biggest illusion is economic activity, because despite being questionably-useful and burning billions of dollars, its need to do so creates a justification for spending billions of dollars on GPUs and data center sprawl, which allows big tech to sink money into something and give the illusion of growth.

I love writing, but I don't love writing this. I think I'm right, and it’s not something I’m necessarily happy about.  If I'm wrong, I'll explain how I'm wrong in great detail, and not shy away from taking accountability, but I really do not think I am, and that's why I'm so alarmed.

What I am describing is a bubble, and one with an obvious weakness: one company's ability to sell hardware to four or five other companies, all to run services that lose billions of dollars.

At some point the momentum behind NVIDIA slows. Maybe it won't even be sales slowing — maybe it'll just be the suggestion that one of its largest customers won't be buying as many GPUs. Perception matters just as much as actual numbers, and sometimes more, and a shift in sentiment could start a chain of events that knocks down the entire house of cards. 

I don't know when, I don't know how, but I really, really don't know how I'm wrong.

I hate that so many people will see their retirements wrecked, and that so many people intentionally or accidentally helped steer the economy in this reckless, needless and wasteful direction, all because big tech didn’t have a new way to show quarterly growth. I hate that so many people have lost their jobs because companies are spending the equivalent of the entire GDP of some European countries on data centers and GPUs that won’t actually deliver any value. 

But my purpose here is to explain to you, no matter your background or interests or creed or whatever way you found my work, why it happened. As you watch this collapse, I want you to tell your friends about why — the people responsible and the decisions they made — and make sure it’s clear that there are people responsible.

Sam Altman, Dario Amodei, Satya Nadella, Sundar Pichai, Tim Cook, Elon Musk, Mark Zuckerberg and Andy Jassy have overseen a needless, wasteful and destructive economic force that will harm our economy and the tech industry writ large, and when this is over, they must be held accountable.

And remember that you, as a regular person, can understand all of this. These people want you to believe this is black magic, that you are wrong to worry about the billions wasted or question the usefulness of these tools. You are smarter than they reckon and stronger than they know, and a better future is one where you recognize this, and realize that power and money doesn’t make a man righteous, right, or smart."]]></description>
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<item rdf:about="https://biocosmopolitan.leaflet.pub/3lrnt3mn3fs27">
    <title>Babbling and Sodomy - Biocosmopolitan</title>
    <dc:date>2025-07-10T05:53:17+00:00</dc:date>
    <link>https://biocosmopolitan.leaflet.pub/3lrnt3mn3fs27</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Translation is a weapon. Communication and understanding is not the sovereign right of your enemies. This is what makes them your enemies. What is the liberal dream? Can you tolerate borders any longer? Freedom is free, when everyone is free or no one is. The installation of artificial obstacles to control your body are just as terrible as those constraining your mind. Translation between social cliques produces a movement. Translation of foreign languages produces a cosmopolis, the world as a city. The peoples of earth are coming to an unavoidable conflict, and the cosmopolis is at the center of that conflict. The world will be a city, or it will be a ruin.

The construction of a cosmopolitan environment is a project of public spaces, of access, and the management and proximity of strangers.

Learning to live with the foreign is not something new. We are foreigners to this world. Attempts to scrub out any evidence to the contrary can only result in a dead habitat, a half hearted attempt to make real life mirror impossible abstractions. Sunlight scatters on a million sharpened edges, chromium locustwing technicolor cloud over a landscape of hunger and regret, a flattened place with nowhere to park. Adding endlessly more lanes to the highway, each utterly congested with agonizing traffic. Contrast this with the neighborhoods of immigrants, the shops in foreign languages and clothes of many colors. The anti-imperial core that has long done the labor of building empire, with none of the pretense of superiority. These are the most livable areas of a city, and these immigrants are the reason. Suburban living is a hospice for cultural relics. A strong society can't rely on people who hide away in their little forts and make up scary stories to justify their isolation. We have to build an evnironment where people are socialized. People have to normalize being around other people. It is not freaky. It is not scary. It is the best part of normal to overhear somebody complaining about personal problems, or talking to themselves, or to shift and make space on a bench without thinking about it too talk to their neighbors or walk around their neighborhood.much.

Anyone who has spent any time sick and starving in a proper forest can tell you, there is no going backwards to Eden. Solutions once found are held closely, and seek to become general. It takes a huge amount of force and cleverness to build the City, but it takes more to prevent the City. Expired tags and expired moral systems are forgivable until they crash into the real people and machinery around them. I do not think its bad that you are homophobic and racist and hate women. I think its hilarious. You belong in a museum. We will build you a little suburban dollhouse exhibit. I will come and tap on the glass, but you will be so sick of people tapping on the glass that you will not notice. You will not prevent the city. And we who must live with you, we have a desire to shrink from your disgusting person, to turn our faces away and pretend you are not happening. Yet we can not, and as horrible as it is, we will not prevent the city."]]></description>
<dc:subject>cities urban urbanism environment cosmpolitanism strangers borders 2025 translation difference highways neighborhoods diversity culture society social socialization walking homophobia racism immigration immigrants xenophobia cars isolation</dc:subject>
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    <title>Book Review – The Philosophy of Translation – Jim Rion – Translator &amp; Writer</title>
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    <dc:creator>robertogreco</dc:creator><dc:subject>translation damionsearls jimrion 2025</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=7CcRqnplfJU">
    <title>Conjuncture: Stefan Kipfer on Gramsci, Anti-fascism, and the Resurgence of the Right | S4 Ep4 - YouTube</title>
    <dc:date>2025-06-03T15:18:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=7CcRqnplfJU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Jordan T. Camp speaks with geographer and theorist Stefan Kipfer about Gramsci, anti-fascism, the rise of the right, the "Toronto school," and more. This season is co-sponsored by the Antipode Foundation.  

Conjuncture is a web series and podcast curated and co-produced by Jordan T. Camp and Christina Heatherton with support of the Trinity Social Justice Institute. It features interviews with activists, artists, scholars, and public intellectuals. Taking its title from Antonio Gramsci and Stuart Hall’s conceptualization, it highlights the struggles over the meaning and memory of particular historical moments. 

Stefan Kipfer is Professor in the Faculty of Environmental and Urban Change at York University. He is author of Urban Revolutions: Urbanization and Neo-Colonialism in Translantic Context, co-editor of Gramsci, Space, Nature, Politics, co-editor of Space, Difference, Everyday Life: Reading Henri Lefebvre, and is currently working on a new book, Anti-Fascism as Production of Space.

Jordan T. Camp is an Associate Professor of American Studies and Founding Co-Director of the Social Justice Institute at Trinity College in Hartford, Connecticut, and a Stuart Hall Fellow in the Hutchins Center for African & African American Research at Harvard University."]]></description>
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<item rdf:about="https://emergencemagazine.org/conversation/ethics-of-listening-to-whales/">
    <title>The Ethics of Listening to Whales – A Conversation with James Bridle, Rebecca Giggs, César Rodríguez-Garavito and Emmanuel Vaughan-Lee</title>
    <dc:date>2025-05-29T16:34:46+00:00</dc:date>
    <link>https://emergencemagazine.org/conversation/ethics-of-listening-to-whales/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would happen if we broke the interspecies language barrier? What would we hear and how might we respond? More-Than-Human (MOTH) Life Collective founder César Rodríguez-Garavito, artist and technologist James Bridle, and author Rebecca Giggs come together in conversation with Emergence executive editor Emmanuel Vaughan-Lee to explore the ethical, legal, and relational implications of a new project using AI machine learning to translate the clicks of sperm whales."]]></description>
<dc:subject>whales cetaceans 2025 jamesbridle rebeccagiggs césarrodríguez-garavito emmanuelvaughan-lee multispecies morethanhuman ethics listening spermwhales ai artificialintelligence machinelearning translation communication human-animalrelations human-animalrelationships language intelligence ceti animals nature wildlife seti colonialism colonization history 1970s 1980s symbolism environment perception ecosystems agency thinking howwethink llms culture care caring attention society socialsystems justice patriarchy privace illegibility environmentallaw law legal science research presence slow humans human waysofbeing being small understanding pollution noise oceans reciprocity responsibility indigeneity indigenous morality animalrights morethanhumanrights plants fungi awe wonder bioacoustics sound sounds audio playback projectceti</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=vCLq5dbrjdY">
    <title>CITY LIGHTS LIVE! Katrina Dodson &amp; Rita Bullwinkel discussing the work of Clarice Lispector - YouTube</title>
    <dc:date>2025-05-15T22:42:55+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vCLq5dbrjdY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["City Lights and Center for the Art of Translation | Two Lines Press celebrate the publication of
Covert Joy: Selected Stories 
By Clarice Lispector – Translated from Portuguese by Katrina Dodson 
Published by New Directions

Purchase the book at this link:
https://citylights.com/covert-joy-sel...

This radiant selection of Clarice Lispector’s best and best-loved stories includes such familiar favorites as “The Smallest Woman in the World,” “Love,” “Family Ties,” and “The Egg and the Chicken.” Lispector’s luminous regard for life’s small revelatory incidents is legendary, and here her genius is concentrated in a fizzing, portable volume. Covert Joy offers the particular bliss a book can bring that she expresses in the title story:

Joy would always be covert for me. . . Sometimes I’d sit in the hammock, swinging with the book open on my lap, not touching it, in the purest ecstasy. I was no longer a girl with a book: I was a woman with her lover.

Clarice Lispector was born in 1920 to a Jewish family in western Ukraine. As a result of the anti-Semitic violence they endured, the family fled to Brazil in 1922, and Clarice Lispector grew up in Recife. Following the death of her mother when Clarice was nine, she moved to Rio de Janeiro with her father and two sisters, and she went on to study law. With her husband, who worked for the foreign service, she lived in Italy, Switzerland, England, and the United States, until they separated and she returned to Rio in 1959; she died there in 1977. Since her death, Clarice Lispector has earned universal recognition as Brazil’s greatest modern writer.

Katrina Dodson is the translator of The Complete Stories, by Clarice Lispector (New Directions, 2015), winner of the PEN Translation Prize and other awards. Her translation of Mário de Andrade’s 1928 Brazilian modernist classic, Macunaíma: The Hero With No Character was published by New Directions in 2023. Her writing has appeared in The Believer, McSweeney’s, The Paris Review, and elsewhere. Dodson holds a PhD in Comparative Literature from the University of California, Berkeley and is an affiliated scholar of the Brazil LAB at Princeton University. A San Francisco native, she now lives in Brooklyn and teaches translation at Columbia University.

Rita Bullwinkel is the author of Headshot and Belly Up, a story collection that won the Believer Book Award. She is a 2022 recipient of a Whiting Award, the editor of McSweeney’s Quarterly, a contributing editor at NOON, the creator of Oral Florist, and a Picador Guest Professor of Literature at Leipzig University in Germany, where she teaches courses on creative writing, zines, and the uses of invented and foreign languages as tools for world building.

The Center for the Art of Translation, a 501(c)(3) nonprofit organization based in San Francisco, was founded in 2000 by Olivia Sears, an Italian translator and editor who serves as the Center’s board president. In 1993, prior to forming the Center, Sears helped to establish the literary translation journal Two Lines: World Writing in Translation at a time when there were very few venues for translated literature in English, and those handful rarely paid much attention to the translator beyond a brief acknowledgment. Two Lines set out to challenge that trend—to make international literature more accessible to English-speaking audiences, to champion the unsung work of translators, and to create a forum for translators to discuss their craft. In this way, Two Lines serves as the Center’s cornerstone, and the journal’s spirit radiates through all of the Center’s work today.

This event was originally broadcast on Wednesday, March 19, 2025."]]></description>
<dc:subject>claricelispector 2025 katrinadodson ritabullwinkel translation literature</dc:subject>
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<item rdf:about="https://blog.ayjay.org/forgiveness-2/">
    <title>forgiveness – The Homebound Symphony</title>
    <dc:date>2025-04-08T21:06:47+00:00</dc:date>
    <link>https://blog.ayjay.org/forgiveness-2/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Pale Flower (1964) is an extraordinary film — and, among other things, a masterclass in directorial tact: Shinoda knows precisely when his camera should move and when it should be still. The shape of every shot — and of every sound, for the sound design here is exceptional — is determined by the needs of the story and characters. I can’t imagine a movie from which you could learn more about how to direct a movie. 

How to describe it? Let’s call it a Yakuza existentialist noir. But the fundamental idea of the story (it’s more than a metaphor) is that of gambling: the playing of games, games with high stakes, games whose demands give you a feeling of being alive. One of those games is murder, by the way. Others are played with hanafuda cards — you see one of those above — and we encounter several such games in the course of the film. I haven’t counted, but I suspect they take up a quarter or more of its running time. 

In the scene above our two protagonists are discussing their addiction to wrongdoing. Each of them confesses to the other. Muraki (the Yakuza hitman) does most of the talking here, and concludes his story of how he killed a man and went to prison for it by saying, “Ask anyone: I’m no good. Even I think so. I’m the scum of the earth. I have nothing in common with ordinary society. But still — I forgive myself.” To which Saeko replies: “I know. No matter what others say, I forgive myself too.” 

And I find myself wondering: What, in their cultural context, does that mean? What is the Japanese word they’re using? What history does it have? What to these characters is forgiveness? Is it identical to, similar to, or wholly different from, the Christian meaning of the word? (It’s very curious that when Muraki and Saeko meet she picks him up — in her expensive sports car — in front of a church. But maybe that means nothing.) Their use of the word brought me up short. 

In his endlessly interesting book Studies in Words, C. S. Lewis talks about how the experienced reader learns to cultivate and to heed “semantic discomfort” — discomfort of the kind I am experiencing. But he also points out that often we don’t experience such discomfort when we ought to. The meaning of a word in its context seems so obvious to us that we glide right past it … and over the falls onto the rocks of Error. So when my mind stumbles on a word as it did at this moment in Pale Flower, my next question for myself always is: How many other important and (to the Western viewer) difficult words in this movie did my mind not stumble on? And I have no way to answer that question. Ignorance is always lamentable but only sometimes remediable. 

Fortunately, there’s such a thing as human life: we recognize in other cultures, and even in the most alien of cultures, experiences that remind us of ourselves and people who essentially are ourselves. Some version of the malady that afflicts Muraki and Seiko is known always and everyone. But I wish I knew more about the differences, subtle and not so subtle, that shape the distinctively Japanese character of those universal themes. "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=bDTcp6u04XU">
    <title>Conjuncture: Jordan T. Camp on Conjunctural Analysis | S3 Ep3 - YouTube</title>
    <dc:date>2025-03-27T21:26:49+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bDTcp6u04XU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Christina Heatherton speaks with Jordan T. Camp about Antonio Gramsci, Stuart Hall, conjunctural analysis, and the politics of the present.

Conjuncture is a web series and podcast curated and co-produced by Jordan T. Camp and Christina Heatherton with support of the Trinity Social Justice Institute. It features interviews with activists, artists, scholars, and public intellectuals. Taking its title from Antonio Gramsci and Stuart Hall’s conceptualization, it highlights the struggles over the meaning and memory of particular historical moments. 

Jordan T. Camp is an Associate Professor of American Studies and Founding Co-Director of the Social Justice Institute at Trinity College in Hartford, Connecticut, and a Visiting Fellow in the University of Connecticut Humanities Institute.

Christina Heatherton is Elting Associate Professor of American Studies and Human Rights and Founding Co-Director of the Social Justice Institute at Trinity College in Hartford, Connecticut."]]></description>
<dc:subject>antoniogramsci stuarthall 2023 jordancamp conjuncture christinaheatherton via:javierarbona communism marxism italy italia politics racism race poverty mezzogiorno thesouthernquestion antiracism antiimperialism imperialism feminism work workers labor democracy organzing fascism antifascism anticapitalism capitalism sardinia underdevelopment africa prisonnotebooks conjuncturalanalysis robinkelley robindgkelley manolocallahan zapatistas populareducation georgelipsitz culturalstudies paulgilroy hazelcarby prisonstudies michaeldenning ruthwilsongilmore gillianhart stefankipfer ayyazmallick geographers geography translation translatability context situated chiapas gustavocastro paulofreire pedagogy liberation latinamerica cedricrobinson clydewoods averygordon laurapulido marvingaye culture poetry music jaynecortez junejordan sunnipatterson joseramirez cyrilneville socialchange josephbuttigieg socialjustice pandemic coronavirus covid-19 neofascism farright rightwing militarism us americanexceptionalism history neoli</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=fsXD5h88_xo">
    <title>The Anarchist Imaginary: Nicolas de Warren on Glissant, Levinas, and a New Radical Ethics - YouTube</title>
    <dc:date>2025-03-25T18:54:09+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=fsXD5h88_xo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are joined by philosopher Nicolas de Warren to explore his concept of the anarchist imaginary, drawn from his essay "Anarchism, the Shock from Elsewhere: Glissant and Levinas". Together, we unpack how anarchism operates not merely as a political program, but as an ethical and temporal force—a heterotopia that resists monolingualism, sovereign authority, and the foreclosure of otherness. Nicholas discusses the right to opacity, indirect reciprocity, and an anarchist ethics of reading that dismantles institutional power while cultivating new forms of literacy and solidarity. Drawing on the work of Glissant, Levinas, Derrida, and others, this conversation maps a terrain where impossibility becomes the site of political and philosophical renewal. We also reflect on the prospects for anarchist institutions, public pedagogy, and the future of thought in an age of digital unthinking."]]></description>
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<item rdf:about="https://poems.com/features/what-sparks-poetry/alana-marie-levinson-labrosse-on-resurrection/">
    <title>Alana Marie Levinson-LaBrosse on “Resurrection” – Poetry Daily</title>
    <dc:date>2025-01-20T20:20:59+00:00</dc:date>
    <link>https://poems.com/features/what-sparks-poetry/alana-marie-levinson-labrosse-on-resurrection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kurdish is a language in which words often break down into image. A friend, haur̄ê (هاوڕێ), shares your path. A lover, hauser (ھاوسەر), shares your head. I do not wait for you, çauer̄êm (چاوه‌ڕێم), I put my eyes in the road. You do not disappoint me, destî şkawm (دەستی شکاوم), you break my hands. No one confesses, danî pêdabnî (دانی پێدابنی), one steps on one’s teeth. To comfort, dłdanewe (دڵدانەوە), one gives back the heart. This element of Kurdish delights me: to crack a word open and peer inside it, to find a world within a word, a world where the abstract is embodied. The Kurdish language calls the body into every conversation, fashioning idea from body. There is no hiding the body, not even to protect it.

Each time I translate a poem from Kurdish, I map where these images occur then decide how, where, and if I can sustain that image in English. These images are so new to English, so inventive, and so emblematic of how the Kurdish language tends toward the palpable, I lean toward keeping as many of them as the translation will bear. This process became a negotiation when I translated the poems of Abdulla Pashew in consultation with the poet himself. Pashew, perhaps the most famous Kurdish poet alive today, is fluent in English, Russian, Arabic, and Kurdish.

We discussed each translation from Dictionary of Midnight (Phoneme Media/Deep Vellum, 2019). When he wasn’t sure of a word, or couldn’t find what he was looking for in English-Kurdish dictionaries (as yet underdeveloped), he would track a word from Kurdish into Arabic or Russian and then into English: a remarkable game of hopscotch. Examining each translation at the level of the word, we quickly recognized that I strived to preserve these images where Pashew would prefer I normalize them.

To him, these words were not remarkable. Translating them as live images rather than dead metaphors distracted the reader and asked the poem to do work the poet had not intended. To me, these words were part of the poem’s work, and part of how the poems could bring newness to familiar ideas of love, country, exile, longing. Instances of this difference crept up so often, they became a joke between the two of us. “Ah, Marusha,” the poet would laugh, using Russian diminutives, and then we would battle it out.

His poem “Resurrection” took us to several battlefields. Structurally, the poem is simple. The poet begins in despair. Then, the world interrupts and “compels” him “to beg the heavens / to stretch the bridge of [his] life so long / [he] won’t be able to cross it, even in a thousand years.” The belly of the poem is the list of all the ways in which the world interrupts his despair. Within this list are several of these image-laden, embodied words.

Kurdish does not use “blade of grass”, but “finger of grass” (pnjegia, پنجەگیا). There is no “burst of an infant’s laughter,” but a “yellow smile” (zerdexene, زەردەخەنە). There is an “ample woman,” but more precisely, there is a “knight-lady” (şorejn, شۆرەژن), a companion word to one of the highest Kurdish compliments for a woman: lion-lady (şêrejn, شێرەژن). And this “ample woman,” her breasts are not actually “rebellious,” but have “weighty heads,” bodies within bodies.

Just listing these here, I am drawn in again by all the possible translations. As a translator, I challenged but honored Pashew’s sense of when to make the novel images hidden within Kurdish visible. In another poem, “Good Morning,” we went several good-natured rounds on a phrase that could have been lexicalized as “a branch in a strong wind.” Having just read Pound’s “In a Station of the Metro,” with the rhythm of his “petals on a wet, black bough” echoing in my head, I couldn’t pass by the more literal rendering: “a branch in the mouth of a black wind.” Oh, and “echo”? To give back the voice.

In “Resurrection,” I deferred to the lexical. As a poet, I can live in the world of a single word. I can imagine what it means for breasts to have their own weighted heads, for there to be bodies within bodies. I can think about how the words “gravity” and “head” create the word “defiant,” how I could invite the images and questions that live in “Resurrection” out of the shadows. And this is the fascinating dichotomy of Kurdish for native speakers: the body is constantly present and precisely because of that it is somehow overlooked. This is the joy of coming to a new language as an adult. I am once more a child. Each word I learn is strange. Every image is play. Every sentence, experiment. My ears are alive to the language. I hear the body everywhere."

...

"Writing Prompt
Write a poem in which you cannot escape the body. Use Kurdish embodied abstractions or invent your own. Or revisit one of your own poems. Cross out each abstraction. Using Kurdish expressions or your own, see how the poem changes when it emerges from the body.

— Alana Marie Levinson-LaBrosse"]]></description>
<dc:subject>via:shiraz 2025 alanamarielevinson-labrosse kurdish language translation form poetry writing howwewrite arabic russian abdullapashew williamvollman words</dc:subject>
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<item rdf:about="https://hopkinsreview.com/features/adios-cristinalina-parra-interview">
    <title>Cristalina Parra on Writing Bilingual Poetry, and a Poem in Translation — The Hopkins Review</title>
    <dc:date>2025-01-04T02:42:05+00:00</dc:date>
    <link>https://hopkinsreview.com/features/adios-cristinalina-parra-interview</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Introduction, Interview, and Translation by Julián David Bañuelos
Cristalina Parra’s debut poetry collection, Tambaleos, was published by Grupo Planeta in 2020. She has learned many things from the Chilean poetic legacy, but the most important is the habit of always carrying a notebook and a pencil to write and reflect. In Tambaleos, she compiles the notes taken during the year her grandfather died and she finished school and left Chile to study art history at the New York University headquarters in the United Arab Emirates. The poems in the collection sometimes dance between English and Spanish, emphasizing the importance of the poet’s position between all languages. Parra documents keen observations of her memories, pens her world, and traverses the tightrope connecting hers to others’. This collection proves her poetic force is here to stay.

In this Hopkins Review interview, Julián David Bañuelos asked Parra about their upbringing, bilingualism, those who influenced their writing and habits, and their poem “Farewell” (“Adiós”), spotlighting the passing of their grandfather, Nicanor Parra.

Read two more poems by Cristalina Parra, alongside Julián David Bañuelos’s translations, in The Hopkins Review 17.1, in print through Hopkins Press and online through Project MUSE.

Julián David Bañuelos: You’ve lived in many different places (Chile, Abu Dhabi, the US, London). What effect do you think that upbringing has had on your writing?

Cristalina Parra: How can I put this eloquently without thinking too much about it? I think it has; it made me read prolifically, and by prolific, I mean a wide array of different things. For instance, I started really reading a lot of Palestinian poetry when I moved to Abu Dhabi. In general, I read a lot of poetry, but I also became fascinated by poetry in translation from Arabic to English. That particular detail may not be reflected in Tambaleos, but it’s reflected in different ways; maybe not in my language and the way that I write, but rather, it’s what I write about. I write a lot about different landscapes; they come up everywhere in Tambaleos. I write about the spaces that I inhabit because I’m interested in a clearer picture of how we relate to one another, and to me, this notion has a lot to do with place and body. I experience the world through my physical body in a certain environment. These environments that I have had the chance to inhabit really informed the images in my work. Coffee, for example, was a really big thing for me when I was living in the UAE, and the desert also comes up a lot in my book. I find pieces of home in different places, like the desert in the UAE reminded me of the desert back home. I try to make parallels between the different spaces I inhabit, and I think that’s why I gravitate now to New York. New York has become the place where I see windows into different places I have inhabited.

JDB: With so much traveling about and so many different languages, did Spanish end up becoming a sort of home that gave you confidence or did it find itself taking a back seat at times? 

CP: I mean, I think it’s a particular thing. I grew up bilingual, so in my house, we spoke Spanish, obviously, but my mom also spoke English because she’s a teacher. I grew up listening to English, too, always in relation to literature. I grew up with my grandfather reciting poetry in English and reciting Shakespeare. When I started learning English in school, knowing both languages became integral to how I wrote. I write the way that I speak; I write Spanglish. I know that my voice is my own; it isn’t constructed, it isn’t a persona. As I continued to develop more relationships in English throughout my studies, Spanish became my little nook. 

JDB: There are several instances throughout your collection where your bilingualism comes into play, particularly in the titles of poems. How did “Farewell” end up with an English title?

CP: This is actually the first poem I wrote for the collection. It’s strange to think about it now. I admire many things about this poem, but more than anything, I appreciate how it stays true to my voice. I can’t say the same for all the poems in this book. The poem represents how I still write. The form represents the way I construct my poems. I love enumeration; I’m a big lists girl, and maybe it’s because I write on my notes app. This poem was a collection of images that deserved a farewell. 

JDB: Can you speak on how your grandfather and other family members impacted you? Which authors would you say had the greatest impact on you, and came to have a certain resonance in your writing?

CP: Cristina Peri Rossi, Alejandra Pizarnik, and Robert Bolaño are some of the first that come to mind. On the other hand, I admire and am inspired by my friends, who are poets. I think of my friend Matias Toro, who will be the best Chilean poet of my generation, I’m telling you right now. Roxana Arroyo from Mexico is another poet I love and admire. My friends who write. I write for them. That’s really why I began posting my work on social media; I wanted to share my work with my friends. When it comes to family, they influenced me a lot as well. I grew up watching my grandfather take notes on everything, and I ended up with the same habit. I make note of the smallest and dumbest things, but they eventually become poems. I learned from a young age that I needed some outlet to keep me sane. Everyone around me had a creative practice, and I found mine through writing. 

JDB: We’ve arrived at my final question for you. I am curious about the evolution of your writing. Tambaleos was published four years ago. Do you feel like your work has radically changed? 

CP: After seeing this poem, I’m not so sure. Before today, my answer would’ve been yes, but I still write like this. This is how I write. Form wise. By form, I mean the title is in English, the poem is in Spanish, I use a list, I write in prose, I combine the epistolary form with the list form, and even use lyrics. I have a certain way of approximating the page. For me, the page is very virtual. I follow the conventions that are available to me when I write on my phone. So maybe my writing style has stayed the same, but what has changed are the topics I am exploring.


***


Adiós


I can still see abuelo standing in the foyer
of the house in Las Cruces, looking at me through 
an empty toilet paper roll, bidding his farewell while
laughing and making faces at me. There i am, in the car, 
head out the window, looking back toward him
until we turn the corner at Lincoln
to head toward Santiago. Since then, the grandfather
has disappeared along with the pink castle—which i now 
know belongs to Emilio—, the bakery, the beetle, and Rosita.
When abuelos’s fishing cap, jeans, jacket, and shawl
were out of sight—the hushing anguish arrived, glued me 
to my seat. I was born in abuelo’s later years, but
he never really aged. Not before
his farewell nor now that he’s gone. It always shook me 
knowing someday there would be no more faces made 
my way while i looked from the window. And
then came the fear i wouldn’t get my chance to say goodbye.


But there was always a chance until there was nothing 
more to leave to chance. It was sudden, and i know
it sounds silly because he was an old man. I also 
lucked out being seen by abuelo the day before
his farewell and to have been seen as both young girl and woman. 
The more i think on it, i know he’s laughing at me right now,
at everyone. Because if we view things with a little more
humor and levity, you’ll find things turn more silly than serious. Silly


like abuelo, of course this humor isn’t everyone’s taste. 
The only thing i promised abuelo was forgetyounot.


To make sure I never forget you i am going to write you a list 
because there’s nothing else to do on this star rich night:


1.  Huevos a la copa 

2.  Cochayuyo seco 

3.  Cazuela

4.  The Bible

5.  Chocolito

6.  King Lear

7.  Empanda de camarón queso

8.  The fishing cap

9.  The Bible

10.  Chillán-San Fabián de Alico

11.  Cura Valente

12.  Rosita Avendaño

13.  Comfort toilet paper

14.  Cartagena

15.  Isla Negra

16.  Red wine

17.  Driving in Cartagena without mamá or papá

18.  Barraquito

19.  Going to and asking Tololo

20.  Sunbathing on the terrace

21.  feet-less heart

22.  Lele

23.  Black or Blue Bic Pen

24.  Ascorbic Acid

25.  The Bible

26.  Carp

27.  Pedro from Valdivia

28.  Ms. Z

29.  Las . . .

30.  Turning on the T.V., coffee in hand

31.  Tatay

32.  Violeta

33.  The mustache’s wiggle

34.  The Philips electric shaver

35.  The Rapa Nui and the tsunami

36.  The serious thing those . . .

37.  New York

38.  Notebooks . . . all of them

39.  Castillo Negro


I’m unsure how to speak English




Tatay,

Farewell

***

Cristalina Parra is a writer and researcher based in New York City. Her first poetry book, Tambaleos, was published with Editorial Planeta in Santiago, and her second publication, Contorsiones, is an experimental website linked to her phone number. Currently, Cristalina is assembling her new couch, fighting cockroaches, and FaceTiming.

Julián David Bañuelos is a Chicano poet and translator from Lubbock, TX. His poems and translations can be seen in The Cincinnati Review, The Common, The Latino Book Review, and many more. He is a graduate of the Iowa Writers’ Workshop. You can find his work at juliandavidbanuelos.com. "]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oFFNahC1rIg">
    <title>Writer Peter Waterhouse: Being Is a Great Activity | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-26T21:50:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oFFNahC1rIg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Austrian poet and writer Peter Waterhouse explores the concept of time, poetry, and the art of being. Known for his contemplative and philosophical approach, Waterhouse reflects on how the creative process often occurs in moments of stillness and presence, rather than in perpetual motion. 

Poetry, Peter Waterhouse explains, exists both on the page and within the reader: “There are two places at least… but probably everywhere: on the beach, in the water, in museums, in hospitals, in books.” The idea of poetry as limitless echoes throughout the discussion, as he reflects on its capacity to be everywhere, asking the world itself, “Are you poetry?”

Through personal anecdotes, Waterhouse also reflects on identity, memory, and his childhood experience of vast distances: “I was afraid the world was too big”, he says. Being the son of an English diplomat and an Austrian mother, the name Peter Waterhouse often caused problems: “Sometimes I felt ashamed of the name because to me it sounded wrong. Either water or house doesn't really go together.”

The conversation shifts to time, sparked by Waterhouse’s experience with William Kentridge’s installation ‘The Refusal of Time’. Grappling with the concept, he muses, “Time is sort of mixed and confused and doesn’t know what it’s doing… Maybe some people are trying to help time to stop doing this and to be.” For Waterhouse, the role of poetry, and perhaps humanity, lies in helping time extract itself from its confusion, allowing it to simply exist.

Waterhouse also offers an intriguing meditation on bees, their ceaseless labor, and their future-oriented nature: “I worry about them because they’re flying all the time. They never sit… They are directed towards the future. They know the future is promising something dangerous.” He contrasts their industriousness with the importance of stopping, observing, and living in the present: “Everything is there already. There’s not so much need to do so much.”

A profound observation lies at the heart of Waterhouse’s reflections: “Being is a great activity. To be is very active.” This notion of active stillness resonates as a counterpoint to the hurried, forward-moving demands of modern life. Peter Waterhouse also engages with the ideas of Danish poet Inger Christensen and others, emphasizing the importance of imperfection in art and life: “The present moment is part of eternity. Eternity has nothing to do with the future.”

Peter Waterhouse (b. 1956, Berlin) is an acclaimed Austrian poet, translator, and essayist. Renowned for his reflective and multi-lingual works, Waterhouse bridges literature and philosophy, often exploring themes of language, time, and existence. He studied German and English literature at the University of Vienna and later in Los Angeles, where he completed a PhD on Paul Celan. Peter Waterhouse is also the founder of the exceptional translation collective Versatorium at the Univerisity of Vienna. He has received several prestigious literary awards, including the Erich Fried Prize and the Hermann Lenz Prize.

Danish poet Morten Søndergaard interviewed Peter Waterhouse in connection with the Louisiana Literature festival in August 2024 at the Louisiana Museum of Modern Art."]]></description>
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    <title>The Promise of Translation</title>
    <dc:date>2024-12-26T21:04:29+00:00</dc:date>
    <link>https://futuress.org/stories/promise-of-translation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Futuress’s editors reflect on the feminist politics of carrying stories across affective, geographical, and linguistic borders."

]]></description>
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<item rdf:about="https://www.nytimes.com/2024/12/06/books/shuntaro-tanikawa-dead.html">
    <title>Shuntaro Tanikawa, Popular Poet and Translator of ‘Peanuts,’ Dies at 92 - The New York Times</title>
    <dc:date>2024-12-13T22:18:28+00:00</dc:date>
    <link>https://www.nytimes.com/2024/12/06/books/shuntaro-tanikawa-dead.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A perennial front-runner for the Nobel Prize in Literature, he was a revered figure in Japan, not just in literary circles but also among casual readers."


]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=QmnQhEQIjKc">
    <title>Uncovering Meta’s Gaza censorship | The Take - YouTube</title>
    <dc:date>2024-10-24T20:36:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=QmnQhEQIjKc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Current and former Meta employees blow the whistle on the company’s mishandling of pro-Palestinian content and retaliation against staff members who speak out. An AJ+ documentary uncovers internal struggles, with testimonies of routine deletion of Palestine-related posts and a deep-seated pro-Israel bias. How do these policies shape public perception of the Gaza conflict?

In this episode:

Dena Takruri, AJ+ Senior Presenter

Episode credits:

This episode was produced by Tamara Khandaker, Sonia Bhagat, Amy Walters, and Sarí el-Khalili with Phillip Lanos, Spencer Cline, Duha Mosaad, Cole van Miltenburg, Hagir Saleh, and our host, Malika Bilal. It was edited by Sarí el-Khalili."]]></description>
<dc:subject>meta facebook instagram censorship 2024 shadowbanning socialmedia palestine gaza humanrightswatch denatakruri saimaakhter ukraine motazazaiza markzuckerberg israel internet web online media antipalestine retaliation threads whatsapp paulbiggar iof idf operationalaqsaflood journalism platforms intimidation russia news dehumanization moderation zionism translation machinelearning algorithms genocide contentmoderation telaviv sherylsandberg 2022 2015 2023 jordanacutler nicolamendelsohn jonathanmendelsohn liorarez doxing antisemitism stopantisemitism influence zaka propaganda conflictsofinterest bias politics hatespeech ideology metadata data surveillance ai artificialintelligence lavender apartheid suppression doxxing</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=9qFNJo1xgGI">
    <title>Are these words &quot;untranslatable&quot; into English? - YouTube</title>
    <dc:date>2024-10-22T14:37:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9qFNJo1xgGI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["English has already borrowed thousands of words from French. However, there are still many beautiful and useful French words for which English has no equivalent. In this video, I introduce you to 10 of them (and propose we steal them for ourselves".

==CHAPTERS==
0:00 Introduction
0:55 10 Rebonjour
2:16 9 Gourmandise
4:09 8 Goûter
5:22 7 Chez
7:21 Lingoda
8:43 6 Si
11:43 5 Tutoyer
14:26 4 Connaître
17:58 3 Flâner
19:18 2 Dépaysement
20:46 1 Bouquiner"]]></description>
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<item rdf:about="https://www.e-flux.com/architecture/loudreading/635532/editorial/">
    <title>Loudreading - Nathalie Frankowski, Cruz Garcia, and e-flux Architecture - Editorial</title>
    <dc:date>2024-10-21T17:38:44+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/loudreading/635532/editorial/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Loudreading is a collaboration between e-flux Architecture, WAI Architecture Think Tank, and Loudreaders Trade School supported by the Mellon Foundation, re:arc institute, the Graham Foundation, Producer Hub, Iowa State University, GSA Johannesburg, Universidad de Puerto Rico–Rio Piedras, and the inaugural ACSA Fellowship to Advance Equity in Architecture. It features contributions by Dorraine Duncan and Jhordan Channer, Nadia Huggins, Jason Fitzroy Jeffers, Isabelle A. Jolicoeur and Sébastien Jean Simon, Marakianí Olivieri, Post-Novis, Luis Othoniel Rosa, Julio Ramos, and Roque Raquel Salas Rivera.

Under the colonial construction of time, the Caribbean is now 532 years into loudreading planetary futures. Here, radical struggles for emancipation, solidarity, and worldmaking subsist despite the planetary scale destruction and repression born out of its tropical plantations. From this mountain range/archipelago, the imperial blueprint of capitalist spoliation has spread across the rest of the planet in the form of military occupations, colonial debt, and planned precarity, and in the technologies of racialization, surveillance, incarceration, and policing.

To acknowledge the Caribbean is to face the unfolding histories of Haiti (Ayiti), of Vieques, of Barbados (Ichirouganaim), of St. Vincent (Youloumain), of Guatemala and Belize; of the expanse of the Black Atlantic; and of each continental land fed by the rivers/veins that connect the sea to deep inland Abya Yala. To understand the history of this region, these landscapes and peoples, is to consider its connections to Palestine, Congo, Sudan, South Africa, Kenya, Kanaky, Algeria, Brazil, Hawai’i, and other topographies of solidarity and resistance.

Born in the capitalist stronghold of tobacco factories, where formerly enslaved and low-wage workers destemmed tobacco leaves and rolled cigars, the practice of loudreading establishes a framework for sharing anti-capitalist and anti-colonial imaginaries. The traveling performers that read out loud literary works of utopian fiction and theories of workers’ emancipation laid the groundwork for the contemporary practice of loudreading Frantz Fanon, Aimé Césaire, Sylvia Wynter, Mahmoud Darwish, Martin Sostre, and Luisa Capetillo into a world torn between the fascist necropolitics of broadcasted genocides and the anti-racist, anti-colonialist movements that chant “no one is free until we are all free.”

In this global panorama, the shapeshifting Caribbean remains—at least in discussions of architecture and spatial practices, with its biennales, festivals, and events—an overlooked, fetishized, and misunderstood region of landscapes and peoples. The recipient of over 40% of the enslaved Africans kidnapped and shipped to Abya Yala, the area is home to the oldest colony (Puerto Rico, with over 531 years of occupation), the first British plantation (Barbados), and a blueprint for radical liberation by the formerly enslaved that was collectively punished with (post-)colonial debt (Haiti).

The Caribbean presents a case study of the cruelties and insidiousness of empire, as well as of the imagination and endurance of half a millennium of anticolonial struggle against the terraforming and earth-spoliating forces of colonialism. Ignoring the rights to reparations, the unscrupulous rule of colonizing powers—including by Spain, France, the United Kingdom, the Netherlands, Portugal, Denmark, Sweden, Germany, and, more recently, the USA—set in place layers of legalistic, linguistic, and mobility barriers that try to fragment the time and space of any form of collective sovereignty in the Caribbean. Against this imposed bureaucratic, political, and economic alienation, a counter-current of critical spatial practices is manifested in poetry, film, photography, agriculture, science fiction, design, and activism that defy discipline and place, exploring ongoing diasporic, Afro-Indigenous, transfeminist, and anti-capitalist histories: narratives of the now and tomorrow.

These radical forms of worldmaking are produced in the multiple creoles spoken, thought, and loudread; in the Afro-Indigenous practices that transmute and refuse to die; in the planetary influence of the Caribbean; and in the combination of ancestral knowledges with evolving technologies that are taken from the grip of the death-machine that is empire. Outside of the tobacco factory, the practice of loudreading becomes mysterious, submarine, untranslatable, confrontational, abolitionist, imaginative, solidary, and subversive. As in the beginning of the twentieth century, loudreading renders obsolete the colonial school as a source of centralized, hierarchical, Eurocentric knowledge. Here, the students are the teachers."]]></description>
<dc:subject>loudreading 2024 nathaliefrankowski cruzgarcia loudreaders architecture puertorico empire imperialism colonialism colonization caribbean haiti barbados belize guatemala stvincent palestine congo sudan southafrica kenya algeria kanaky brazil brasil hawaii solidarity resistance anticapitalism anticolonialism education reparations spain españa netherlands portugal denmark sweden germany uk us activism design diaspora transfeminism worldmaking language imagination abolition abolitionism subversion subversiveness translation hierarchy eurocentrism knowledge luisacapetillo genocide emancipation emancipatory lcproject openstudioproject capitalism incarceration policing surveillance racialization dorraineduncan jhordanchanner nadiahuggins jasonfitzroyjeffers isabellejolicoeur sébastienjeansimon marakianíolivieri post-novis luisothonielrosa julioramos roqueraquelsalariviera frantzfanon aimécésaire sylviawynter mahmouddarwish marinsostre utopia fiction literature freedom liberation anti-colonialism</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=12btf2Oq820">
    <title>Inside Meta’s Palestine Censorship - YouTube</title>
    <dc:date>2024-10-15T23:28:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=12btf2Oq820</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Meta has a Palestine problem. If you use Facebook or Instagram, you’ve probably seen the censorship yourself. Dena Takruri uncovers an internal culture of censorship, intimidation and fear within Meta, the parent company of Instagram and Facebook.

She speaks to Meta employees who’ve tried to fix the problem or speak out, and say they were silenced or even fired. She also investigates Meta leaders’ deep ties to Israel, which may explain why it’s suppressing and censoring Palestine content for billions of users around the world."]]></description>
<dc:subject>palestine instagram facebook meta markzuckerberg israel censorship internet web online socialmedia saimaakhter media antipalestine shadowbanning humanrightswatch retaliation threads whatsapp 2024 paulbiggar iof idf operationalaqsaflood journalism platforms intimidation motazazaiza gaza ukraine russia news dehumanization moderation zionism translation machinelearning algorithms genocide guyrosen contentmoderation telaviv sherylsandberg 2022 2015 2023 jordanacutler nicolamendelsohn jonathanmendelsohn liorarez doxing antisemitism stopantisemitism influence zaka propaganda conflictsofinterest bias politics hatespeech ideology metadata data surveillance ai artificialintelligence lavender apartheid suppression denatakruri benjaminnetanyahu doxxing</dc:subject>
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<item rdf:about="https://lithub.com/on-translating-mario-levrero-the-kafka-of-uruguay/">
    <title>On Translating Mario Levrero, The Kafka of Uruguay ‹ Literary Hub</title>
    <dc:date>2024-10-09T02:13:05+00:00</dc:date>
    <link>https://lithub.com/on-translating-mario-levrero-the-kafka-of-uruguay/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“It’s a mistake to expect literature to come only from literary sources.”"]]></description>
<dc:subject>mariolevrero anniemcdermott 2019 translation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:a88ca218cdfb/</dc:identifier>
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<item rdf:about="https://yalebooks.yale.edu/book/9780300247374/the-philosophy-of-translation/">
    <title>The Philosophy of Translation</title>
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    <link>https://yalebooks.yale.edu/book/9780300247374/the-philosophy-of-translation/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A deep dive into the nature of translation from one of its most acclaimed practitioners
 
Avoiding theoretical debates and clichéd metaphors, award‑winning translator Damion Searls has written a fresh, approachable, and convincing account of what translation really is and what translators actually do. As the translator of sixty books from multiple languages, Searls has spent decades grappling with words on the most granular level: nouns and verbs, accents on people’s names, rhymes, rhythm, “untranslatable” cultural nuances. Here, he connects a wealth of specific examples to larger philosophical issues of reading and perception. Translation, he argues, is fundamentally a way of reading—but reading is much more than taking in information, and translating is far from a mechanical process of converting one word to another. This sharp and inviting exploration of the theory and practice of translation is for anyone who has ever marveled at the beauty, force, and movement of language."]]></description>
<dc:subject>damionsearls translation language 2024 reading perception howweread writing howwewrite</dc:subject>
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<item rdf:about="https://rongzhi.tumblr.com/post/763424248342724608/op-%E5%B0%8F%E7%8C%AB%E5%92%AA%E6%89%93%E6%89%B0%E6%88%91%E5%90%83%E7%93%9C%E4%BA%86-little-kitty-disturbed-my">
    <title>: OP: 小猫咪打扰我吃瓜了 ↳ Little kitty disturbed my...</title>
    <dc:date>2024-10-04T22:24:07+00:00</dc:date>
    <link>https://rongzhi.tumblr.com/post/763424248342724608/op-%E5%B0%8F%E7%8C%AB%E5%92%AA%E6%89%93%E6%89%B0%E6%88%91%E5%90%83%E7%93%9C%E4%BA%86-little-kitty-disturbed-my</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["OP: 小猫咪打扰我吃瓜了

<blockquote>↳ Little kitty disturbed my melon-eating
(melon-eating = when someone is spectating on affairs unrelated to them / watching from the sidelines)</blockquote>

English added by me :)"]]></description>
<dc:subject>mandarin chinese language fruit cats 2024 humor idioms melons translation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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    <title>Arabic ≠ Latin: Sacred Language in a Secular Age - Public Books</title>
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    <link>https://www.publicbooks.org/arabic-%e2%89%a0-latin-sacred-language-in-a-secular-age/</link>
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<item rdf:about="https://www.poetryfoundation.org/poems/48765/problems-of-translation-problems-of-language">
    <title>Problems of Translation: Problems of Language, by June Jordan | Poetry Foundation</title>
    <dc:date>2024-06-27T03:58:20+00:00</dc:date>
    <link>https://www.poetryfoundation.org/poems/48765/problems-of-translation-problems-of-language</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Dedicated to Myriam Díaz-Diocaretz

1

I turn to my Rand McNally Atlas.
Europe appears right after the Map of the World.
All of Italy can be seen page 9.
Half of Chile page 29.
I take out my ruler.
In global perspective Italy
amounts to less than half an inch.
Chile measures more than an inch and a quarter
of an inch.
Approximately
Chile is as long as China
is wide:
Back to the Atlas:
Chunk of China page 17.
All of France page 5: As we say in New York:
Who do France and Italy know
at Rand McNally?


    2

I see the four mountains in Chile higher
than any mountain of North America.
I see Ojos del Salado the highest.
I see Chile unequivocal as crystal thread.
I see the Atacama Desert dry in Chile more than the rest
of the world is dry.
I see Chile dissolving into water.
I do not see what keeps the blue land of Chile
out of blue water.
I do not see the hand of Pablo Neruda on the blue land.


    3

As the plane flies flat to the trees
below Brazil
below Bolivia
below five thousand miles below
my Brooklyn windows
and beside the shifted Pacific waters
welled away from the Atlantic at Cape Horn
La Isla Negra that is not an island La
Isla Negra
that is not black
is stone and stone of Chile
feeding clouds to color
scale and undertake terrestrial forms
of everything unspeakable


    4

In your country
how do you say copper
for my country?


    5

Blood rising under the Andes and above
the Andes blood
spilling down the rock
corrupted by the amorality
of so much space
that leaves such little trace of blood
rising to the irritated skin the face
of the confession far
from home:

I confess I did not resist interrogation.
I confess that by the next day I was no longer sure
of my identity.
I confess I knew the hunger.
I confess I saw the guns.
I confess I was afraid.
I confess I did not die.


    6

What you Americans call a boycott
of the junta?
Who will that feed?


    7

Not just the message but the sound.


    8

Early morning now and I remember
corriendo a la madrugada from a different
English poem,
I remember from the difficulties of the talk
an argument
athwart the wine the dinner and the dancing
meant to welcome you

you did not understand the commonplace expression
of my heart:

the truth is in the life
la verdad de la vida

Early morning:
do you say la mañanita?
But then we lose
the idea of the sky uncurling to the light:

Early morning and I do not think we lose:
the rose we left behind
broken to a glass of water on the table
at the restaurant stands
even sweeter
por la mañanita"]]></description>
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<item rdf:about="https://www.are.na/editorial/all-the-tenderness-of-attention">
    <title>All the Tenderness of Attention | Are.na Editorial</title>
    <dc:date>2024-05-30T17:23:38+00:00</dc:date>
    <link>https://www.are.na/editorial/all-the-tenderness-of-attention</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image: "Quote by Mark Nepo, block via John Oparah. [White text on a black background: to listen is to lean in softly with the willingness to be changed by what we hear."]

In February, Montez Press Radio broadcast the first episode of Are.na Radio [https://radio.montezpress.com/#/show/3303 ], an audio experiment where four people share their Are.na channels, describe what’s been collected, and reveal the threads of thought therein. In anticipation of our second episode next month, we’re publishing the transcript of Sharon Neema talking about the channel ad tendere [https://www.are.na/sharon-neema/ad-tendere ].

I often find myself falling down etymological rabbit holes. Some curiosity or other will have me chasing down the origin of a word, digging for its root. Sometimes what I find is simple, straightforward, the etymological equivalent of 1 + 1 = 2. But sometimes I am met with a reanimated understanding of whatever white-rabbit word I followed.

I mean “reanimated” particularly in its definition of “a restoring to consciousness,” because there are etymologies that stir my awareness of a word in this way, causing me to become deliberate again in my use of the word. Sometimes a word, its origins, its root meanings, and etymological cousins will remind me of the wonder of language — all that a word says (or doesn’t quite say, but still means), all that is lost or that lingers on in translations and evolutions of use and form.

“Attention” is one such word. I don’t remember the first time that I looked up its etymology, if it was a simple, passing, personal curiosity, or if it had been sparked by something I had seen or read or been told.

The root of the word “attention” is the Latin ad tendere which means ”to stretch towards.“ Tendere, or “stretch,” comes from a Proto-Indo-European root “ten-” with the same meaning, "to stretch.” Many other words share this root, but amongst them is of course the word “tender.”

This old kinship that exists between these two words, between attention and tenderness, is one that I have come back to over and over again. 

An arena channel, titled “ad tendere,” [https://www.are.na/sharon-neema/ad-tendere ] grew out of this stubborn rumination, as a space for me to consider all the attention of tenderness and all the tenderness of attention. 

Perhaps ironically, much of what sits in this channel was put there without any particular attention or intentional thought to the other material within this little virtual container. But now, looking back through the blocks, through the bits and fragments that have found home there over the past year or so, it is evident to me that there are, in fact, related threads of thought running through the channel, ideas that I unintentionally kept coming back to. I wasn’t trying to create some methodical, structured analysis of attention and tenderness. I was simply reaching for the shiny things, gathering what caught my attention for the sole reason that it caught my attention. However, out of this intuitive process, what emerged is a representation of  ideas, concepts, and subjects that I am drawn to, that my attention is tender towards.

I am tender towards language, and several blocks within the channel consider the language around attention and tenderness. One block, for example, outlines the different things we do with the word “attention” linguistically.

[image: "Image by Juliana Castro. [A chart showing the various verbs that accompany the word “attention” in four different languages. In English, attention is something you pay, as in “pay attention.” In Spanish, you lend it. In French, attention is something you do and in German, it is something you gift. ]]

Another block looks at the word “mind.”

[image: "Block via cara f. [On one side of a diagram is the word “mind” with arrows drawn to two of its definitions: “to pay attention to” and “to care for.” Between these two definitions, there is another arrow — a double-headed one.]"]

I love the suggestion that to pay attention to something is implicitly to care for it, to be tender towards it, to take on the responsibility of looking after it. 

In an excerpt from his book, The Disappearance of Rituals, Byung-Chul Han writes,

<blockquote>It is no coincidence that the word ‘religion’ comes from relegare, to focus the attention. All religious praxis is an exercise of attention…. repetitions make the attention stabilize and deepen. Repetition is the essential feature of rituals.</blockquote>

Rituals are another thing I am persistently curious about, particularly in the ways that ritual exists outside of religious contexts — in the mundane, the ritual of a morning routine, or tending to a plant, or gathering to share a meal. So I am partial to this framing of ritual as repeated attention. There is a particular tenderness in that, in that devotion to ritual. As the poet Mary Oliver writes,

[image: [“Attention is the beginning of devotion.”]]

Devotion, in the form of love, is another thread in the channel that stitches together attention and tenderness. To love is to see, to pay tender attention to. As Octavio Paz puts it, “the heart is an eye.” Or as Virginia Woolf wrote in a letter to a friend, “I love you, and I am conscious of you all the time.” There is an essay by Ella Risbridger about kitchens as a place of intimacy. In it, she also writes about the tender, loving attention of knowing how someone takes their tea or coffee. She calls this “a small and delightful privilege because it’s a fact of too little consequence to be ferreted out except with small repeated acts of care.”

In the arena channel, there is a screenshot of some tumblr post, that ponders another one of these small acts of care: when you have prepared a fruit for yourself to eat, but then, joined by someone you love, you offer them every other piece of fruit, without them asking. I love the parallels between the image of stretching out this fruit offering and the “stretch” in the etymological origins of attention and tenderness. To love is to offer attention and tenderness in outstretched hand.

[image: "Block via Aura Library [Black text on white background: "...to eat a fruit is to know its meaning.""]

Another aspect of attention and tenderness I have been thinking through, by way of this arena channel, is how to bring more tenderness and attention to particular practices. The practice of reading or research or study, for example. In one of the documents linked to the channel, “An Invitation to Radical Tenderness” by Dani d’Emilia and Vanessa Andreotti, there is a line that reads,

<blockquote>It is sense-full, to allow our state of wondering to stay open, without always trapping it into meaning.</blockquote>

Another block in the channel, is an image of an open book, with every inch of the pages, including the margins, entirely highlighted in bright neon yellow. At the bottom of the image, sit the words “everything is important.” I love the ways both of these oppose academic norms of succinctness and prioritisation and ideas around what information is important or worth paying attention to.

[image: "Block via dani bloop. [The entirely-highlighted page described above.]"]


If everything is important, if we allow wonder to guide us without trapping it into meaning, our attention, our noticing, becomes expansive. One of the essays linked within the channel is “Notes on Notes” by Mary Cappello. In it she writes about note-taking as an act of noticing and this particular noticing as something which has to do with missing— “missing what we’d been told to pay attention to.” I am curious about this as an  approach to writing, the idea of intentionally missing what we’ve been told to pay attention to and instead stretching towards the What Else. In an essay on writing by Abigail DeWitt, she urges,

<blockquote>In the midst of a flood, consider the colour of the water.</blockquote>

I have been thinking about why this particular relationship between tenderness and attention is one that I return to so often. Perhaps it is because I am a poet. In one of the blocks in this channel, an excerpt from one of John Berger’s books positions poetry as the process through which attention is made tender. “Poetry makes language care because it renders everything intimate. This intimacy is the result of the poem's labor, the result of the bringing-together-into-intimacy of every act and noun and event and perspective to which the poem refers.” Mary Oliver’s work, and her poetry specifically, is rooted in such tender attention to the world. In her poem, “Yes! No!” she writes: “To pay attention / this is our endless and proper work.”

In this world, in this time, attention so often feels commodified, and tenderness can seem scarce or futile. To stretch persistently towards careful attention and stubborn tenderness can be laborious but it is also necessary work. In her book, Ordinary Notes, Christina Sharpe writes, “Care is complicated, gendered, misused. It is often mobilized to enact violence, not assuage it, yet I cannot surrender it.” And later, in the same book, she asks, “What is required of us, now? In this long time of our undoing?” Her answer? “to notice or observe with care.”

[collection embedded: https://www.are.na/sharon-neema/ad-tendere ]

Sharon Neema (she/they) is a visual artist & poet based in Nairobi, Kenya. They are endlessly curious about process, embodiment, inner landscapes and community."]]></description>
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<item rdf:about="https://www.nytimes.com/2023/11/29/books/review/pedro-paramo-juan-rulfo.html">
    <title>Book Review: ‘Pedro Páramo,’ by Juan Rulfo - The New York Times</title>
    <dc:date>2024-03-02T19:12:17+00:00</dc:date>
    <link>https://www.nytimes.com/2023/11/29/books/review/pedro-paramo-juan-rulfo.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Masterpiece That Inspired Gabriel García Márquez to Write His Own

For decades, Juan Rulfo’s novel, “Pedro Páramo,” has cast an uncanny spell on writers. A new translation may bring it broader appeal."


[via:
https://www.latimes.com/entertainment-arts/newsletter/2024-03-02/new-york-review-of-architecture-la-issue-essential-arts-arts-culture ]]]></description>
<dc:subject>2023 juanrulfo pedropáramo gabrielgarcíamárquez maexico literature translation susansontag robertobolaño jalisco language vernacular douglasweatherford tseliot samuelbeckett cormacmccarthy lysanderkemp 1959 sayerspeden isabelallende magicrealism 1977 valerialuiselli 1961 1980 enriquevila-matas 1955 álvaromutis juliocortázar gabo kafka</dc:subject>
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<item rdf:about="https://www.nytimes.com/2024/01/21/books/review/who-owns-this-sentence-copyright-bellos-montagu.html">
    <title>Book Review: ‘Who Owns This Sentence?’ by David Bellos and Alexandre Montagu - The New York Times</title>
    <dc:date>2024-03-01T19:06:05+00:00</dc:date>
    <link>https://www.nytimes.com/2024/01/21/books/review/who-owns-this-sentence-copyright-bellos-montagu.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Plato and Pushkin, Mickey Mouse and “The Simpsons” make (permissible) appearances in this surprisingly zippy history of copyright protection."]]></description>
<dc:subject>davidbellos alexandremontagu copyright 2024 alexandrajacobs plagiarism ownership intellectualproperty ip fairuse publicdomain film music writing books language hiphop sampling remixing translation</dc:subject>
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<item rdf:about="https://escholarship.org/uc/item/89h414tg">
    <title>Sonic Futures: Assistive Technologies, Gendered Labor, and the Colonization of Voice</title>
    <dc:date>2024-01-01T03:47:30+00:00</dc:date>
    <link>https://escholarship.org/uc/item/89h414tg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This dissertation investigates the human voice as a type of unseen or invisible data mediated through voice recognition platforms, systems of care, emergency infrastructures, and the creation of assistive technology. It explores the various mechanisms that create a standard voice associated with authority and care. Looking first within the telecommunications world, Bell System specifically, the human voice was associated with a specific phenotype, race, and gender. This research asserts that western, American and British Englishes are perpetuated as the global lingua franca in a transnational and global economic infrastructure of information, big data, and a complex system of care.

In a world increasingly reliant on assistive technologies, sonic perceptions and memories are critical if we hope to preserve oral traditions and language diversity. The introduction of this project lays out the theoretical framework of the dissertation, which includes the examination of gendered labor histories, codified speech, and how the language of care and authority are mediated through digital technologies within emergency infrastructures and global, racial capitalism."]]></description>
<dc:subject>dorothysantos 2023 technology gender labor voice speech media race language translation care caring voicerecognition accessibility assistivetechnology bigdata information sound</dc:subject>
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</item>
<item rdf:about="https://jamiejbartlett.substack.com/p/how-to-die-digitally">
    <title>How to die digitally - by Jamie Bartlett</title>
    <dc:date>2024-01-01T03:41:23+00:00</dc:date>
    <link>https://jamiejbartlett.substack.com/p/how-to-die-digitally</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you want your grandchildren to remember you?"]]></description>
<dc:subject>jamiebartlett death dying online web internet memory access stuartritchie ai translation artificialintelligence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:541238650f67/</dc:identifier>
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</item>
<item rdf:about="https://www.poetryfoundation.org/articles/147441/from-paris-with-love-and-terror">
    <title>From Paris, with Love and Terror by Nathan Scott… | Poetry Foundation</title>
    <dc:date>2023-12-29T07:34:27+00:00</dc:date>
    <link>https://www.poetryfoundation.org/articles/147441/from-paris-with-love-and-terror</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Alejandra Pizarnik’s French poems reveal the artist’s restless obsessions."]]></description>
<dc:subject>alejandrapizarnik poetry language translation argentina france french nathanscottmcnamara literature</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7fbe3812c997/</dc:identifier>
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<item rdf:about="https://twitter.com/blkpaws/status/1732954318657974669">
    <title>blkp🔻 on X: &quot;Came across Dr. Refaat Alareer's poem &quot;If I must die&quot; just a few days ago, I cried and couldn't help but translated it to Chinese without his permission. Now that he's gone. https://t.co/ALO8E7WwSq&quot; / X</title>
    <dc:date>2023-12-11T04:15:34+00:00</dc:date>
    <link>https://twitter.com/blkpaws/status/1732954318657974669</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Came across Dr. Refaat Alareer's poem "If I must die" just a few days ago, I cried and couldn't help but translated it to Chinese without his permission. Now that he's gone."

[replies contain translations into numerous other languages]]]></description>
<dc:subject>refaatalareer 2023 translation poetry poems palestine</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:7e3554618e64/</dc:identifier>
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<item rdf:about="https://www.theguardian.com/books/booksblog/2015/aug/18/pablo-neruda-and-translations-losses">
    <title>Pablo Neruda and translation's losses | Pablo Neruda | The Guardian</title>
    <dc:date>2023-08-31T14:40:02+00:00</dc:date>
    <link>https://www.theguardian.com/books/booksblog/2015/aug/18/pablo-neruda-and-translations-losses</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It seems fair enough that some licence is granted when rendering poems in a different language, but dropping entire cantos is surely taking things too far"]]></description>
<dc:subject>2015 pabloneruda translation language spanish español clairearmistead poetry</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:5ebe29cf51c4/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=HUT1hVCfcvE">
    <title>Colores de una infancia migrante: Francisca Yáñez - YouTube</title>
    <dc:date>2023-06-30T04:54:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HUT1hVCfcvE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Llenaremos una maleta con imágenes y experiencias de la ilustradora y artista visual Francisca Yáñez (Santiago de Chile, 1971), adentrándonos en su infancia en exilio en Argentina, Alemania y Costa Rica. ¿Cómo estos años impactaron en su obra? Seguiremos abordando su relación con los viajes, la migración, la ausencia, los libros y cómo éstos han contribuido a sus procesos creativos. También nos adentraremos en las denominadas cosas "incontables" que están presentes en su trabajo ¿Cuáles elegiríamos para salvar el mundo?"]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=pwOxlpGYJAY">
    <title>Pro Interpreters vs. AI Challenge: Who Translates Faster and Better? | WIRED - YouTube</title>
    <dc:date>2023-06-19T16:48:19+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=pwOxlpGYJAY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AI has been threatening everyone's jobs, and that includes translation. Professional interpreters Barry Slaughter Olsen and Walter Krochma take on an AI speech translator named Kudo to see how its translation compares to that of a human. Barry and Walter test the AI on its ability to translate not only the words being said, but the emotions."]]></description>
<dc:subject>translation ai artificialintelligence language 2023 interpretation simultaneousinterpretation walterkrochma barryslaughterolsen</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e072eca05592/</dc:identifier>
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<item rdf:about="https://restofworld.org/2023/ai-translation-errors-afghan-refugees-asylum/">
    <title>AI translation jeopardizes Afghan asylum claims - Rest of World</title>
    <dc:date>2023-04-30T01:27:14+00:00</dc:date>
    <link>https://restofworld.org/2023/ai-translation-errors-afghan-refugees-asylum/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Cost-cutting translations are introducing errors and putting refugees at risk."]]></description>
<dc:subject>ai artificialintelligence language computing asylum migration refugees 2023 translation machinetranslation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://futuress.org/stories/we-belong-to-the-land/">
    <title>We Belong to the Land</title>
    <dc:date>2023-04-14T02:28:51+00:00</dc:date>
    <link>https://futuress.org/stories/we-belong-to-the-land/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Insights from a quilombola thinker on Brazil’s state-sanctioned violence and the power of oral traditions."]]></description>
<dc:subject>2023 antôniobispodossantos quilombos pisegrama translation language writing howwewrite legal law brasil brazil indigenous indigeneity orality oraltradition land colonization colonialism reading literacy linear linearity nonlinear cultivation trust relationships ownership possession meaningmaking meaning wisdom morethanhuman academia knowledge knowledgeproduction sustenance candomblé samba capoiera cosmology circular diversity work labor resistance colonialthinking coexistence organicknowledge syntheticknowledge synthesis despair confusion emancipation confluences rural subjugation classstruggle marxism unschooling deschooling counter-colonization counter-colonialism canon futuress</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:f4576d546bc8/</dc:identifier>
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    <title>أحْرُف وكَلِمَاتْ وقِصَصْ A Multi-Script Type Design Program</title>
    <dc:date>2023-04-05T16:45:55+00:00</dc:date>
    <link>https://futuress.org/stories/letters-words-stories/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Imagining a playground for collective archiving, researching and letter-making."]]></description>
<dc:subject>naïmabenayed 2023 education design language translation form unschooling openstudioproject lcproject libraries archives graphicdesign graphics lettering typography fonts arabic communication structure maintenance care type physicality tunisia tunis museums tangibility history crosspollination latin opentype languages writing howwewrite signs vernacular vidual systems migration immigration multilingualism logos scripts calligraphy pop-ups howweread colonialism memory nostalgia futuress</dc:subject>
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<item rdf:about="https://www.are.na/blog/with-and-without-a-firm-grasp">
    <title>With and Without a Firm Grasp — Are.na</title>
    <dc:date>2023-03-28T19:25:45+00:00</dc:date>
    <link>https://www.are.na/blog/with-and-without-a-firm-grasp</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In his book Approaching the Qur’an, Michael Sells describes translation as a process that can never be perfectly one-to-one. He elaborates, writing:

<blockquote>My own view is that translation—never complete, always only an approach—is an essential element of human existence. Even among those who speak our own language, we often find we have interpreted a word in a way other than it was intended. We can never fully capture or seize the perfected meaning. If we could grasp or seize it, we would soon find that the meaning has lost its magic in captivity.1</blockquote>

I want to embrace translation as something that is process-oriented and impossible to perfect — something that reflects our human nature, a work-in-progress that’s perpetually and beautifully flawed. For the remainder of this essay, I’ll continue to translate a handful of words, expressions, and religious practices with the understanding that my translations are, in Sells’s words, only approaches and never complete. My translations are not definitive or authoritative; they instead aim to arrive at a conceptual throughline that positions language, warts and all, at the heart of this discussion."

...

"The circulation of printed Ramadan calendars reflects an ongoing exchange of designed data that I find interesting for a handful of reasons. Two pillars of Islam are beautifully championed in these eclectic calendars: prayer and fasting. Several languages are reflected throughout these timetables and in many instances a combination of scripts coexist side-by-side. Scale, font selection, color, and format are stretched in different directions, resulting in a wide range of typographic moves and decorative devices that effortlessly balance humanist expression with the expected functionality of a spreadsheet-calendar. 

Of course, there is another reason for my interest in these printed calendars that points to technology as both an important engine in Islamic history and a more recent threat to Islamic society. Many Muslims today rely on apps and websites when seeking prayer times, since they deliver this data with speed and accuracy. Like a lot of things that have transitioned from print to web, salah apps offer a blend of convenience, immediacy, and dependability, especially for those of us who live in areas where the azan is not heard everyday. But the trade-off for this convenience is loss of privacy through data extraction and the active surveillance of Muslim communities.

Thinking back to the word amsak, today’s technology might reveal an uglier side of holding, one that comes with strings attached. Our computers, phones, and devices offer information that’s immediately available for our consumption, and while this information helps us organize our day and practice our faith, it also reinforces oppressive power dynamics that rely so heavily on capturing and controlling Muslim communities. In contrast to prayer apps and websites, imsaakiyat Ramadan is localized and handed out in-person, making it less accessible to people outside of the served community and more difficult to track and trace in real time.

Printed Ramadan calendars still pull from data that’s sourced online, so they are by no means a perfect remedy to the larger problem of tracking and surveillance. But they at least prompt people to gather and seek salah times within their immediate communities, rather than searching for prayer times on an app and in isolation. Perhaps this means that the printed calendars are like Sudani salads and the apps are like dips — easy to find, easy to contain, easy to consume without cooking. While I’m trying to distance myself from the dips, I can’t avoid them entirely, and I can’t deny their relation to our salads. Dips and salads, America and Sudan, and English and Arabic operate within a continuum that loops and fluctuates with time. These things function and fall apart and function again, taking new form at the start of each cycle and reintroducing themselves to me with an anxiety that’s rooted in optimism.

I’m holding all sides of me with and without a firm grasp as I continue this effort at approaching myself."

[Part II here:
https://www.are.na/blog/with-and-without-a-firm-grasp-part-ii 

[Forough] "It wasn’t until I stepped out of my trained mindset when my design started resonating with the original references."

...

[Shiraz] "My hope is that we’re honoring and celebrating that work, not appropriating it."

...

"Forough:  A valuable conversation we had early on was about visual adaptation. There’s a fine line between appreciating and appropriating design references. We were talking about to what extent we can borrow from these calendars. As designers, we need to be conscious that the visual materials we encounter and approach are informed by their complex cultural and subcultural dynamics. We need to reference those visuals consciously.

Shiraz: That’s such an important point, because it begins to address the risk of us extracting visual materials that we are inspired by (which happens a lot in graphic design). In this case, I grew up with these salah tables. I look at them as important design precedents because they stem directly from my upbringing, my childhood, my relationship to Islam. I’m not at all removed from the communities that produce these prayer timetables, but I still worry about the role I play when I’m participating in the process of designing them. There’s an interesting exchange that might be happening, a translation of different design processes maybe.

With that in mind, I’m wondering what role translation played in your process. What did you need to translate in order to design the calendar? What wasn’t familiar in the beginning, and what did you learn in the end?"

Forough: I think of translation here as both linguistic translation and cultural translation, or, more specifically, an act of religious translation. In Twelver Shi’ism, Muslims combine prayers, like midday and afternoon prayer, so many Shi'a Muslims end up praying three times a day rather than five. This calendar has all the five prayer times. So I had to double check the differences there, and make sure that I understood them correctly — to me that’s a cultural/religious translation. 

We also included the Arabic and English translations of the weekdays. I looked up the Arabic translation and found some variations. In a few translations, I would see diacritic marks but in others I wouldn’t. With the central calligraphy, Ramadan Kareem, which is set in Thuluth script, I found examples where I couldn’t tell the difference between short vowel diacritics and ornamental marks. I asked a student in my class who’s fluent in Arabic to help me with this.

Another interesting thing was the numbering systems. In Arabic, four, five, and six are different from how we write those numbers in Farsi. 

Shiraz: All of this brings up the question of, why Arabic and English? What languages do we use on a calendar like this, for a community that includes many different people who speak many different languages? Arabic obviously plays a big role in the Islamic faith, and a lot of the terms on Ramadan calendars are either translated or transliterated Arabic terms. But there are real questions surrounding who dominates discussions on Islamic practice, who remains more privileged, and how can we counteract or challenge that? 

Forough: I think including Arabic on the calendar — even if I don’t read it or understand it — is more of a symbolic act. Even as a non-native speaker, I can recognize the form.

Shiraz: I agree, especially when we think of the role that Arabic calligraphy plays in Islamic art and architecture and how it often is preferred over pictorial images and iconography.

Forough: What is your relationship to Islam, and how has it developed and evolved throughout the years? 

Shiraz: I’m an American Muslim who toggled between living in the States and visiting Sudan as a child. As I spent more time in Sudan and compared those experiences with living in the US, I found that American Muslim communities have a heightened sense of identity that is informed by our vulnerability in this country. We’re very vulnerable to different policies and threats posed against us. Because of that — because we live in the margins of American society where we are regular targets, where we’re not, you know, governed by a body that reflects us — there’s a lot that we have to preserve and protect for the sake of survival, or even for the sake of feeling grounded in our day-to-day happenings. 

In the first blog post that we published at the launch of this project, I reference the word amsak, which means “to hold,” and I feel like that word is relevant here. American Muslims (as well as immigrants and diasporic folks in general) are holding onto themselves in a distinctive way. We are preserving aspects of our faith, culture, and personhood that are vulnerable to erasure and attack.

I’m wondering about your relationship to Islam and Ramadan, more specifically. Can you elaborate on your background in relation to the practices that are reflected on our calendar?

Forough: Growing up in Iran, I had a different experience of Ramadan from many practicing Muslims. In my family, a lot of religious practices and holidays received less attention than other cultural events and traditions. In my experience, I found that Muharram and more specifically Ashura held more cultural significance than Ramadan back home. The Persian New Year, which is based on the religion of Zoroastrianism, is another example that has similar, if not more significance, in my country.

It wasn’t until I started hanging out with friends in Dubai that I saw Ramadan as a religious and spiritual journey that’s experienced on a personal, internal, interpersonal, and communal level. In many Muslim countries, the everyday living experience changes slightly to accommodate Ramadan. The working hours would end by 2 pm, and the city would quiet down until iftar, becoming alive afterward until dawn."

...

"Forough: Sometimes graphic design can be an isolating process, because we don't always see our work come to life after we submit it. I can imagine distributing the Ramadan calendars in person gave you a better understanding of why this project was made and what purpose it served. It also gives you a different perspective, that graphic design is just one component of a bigger social engine. 

Shiraz: Right. I try to remind myself that our work is a small scale gesture. In projects like this, graphic design helps signal or point to things that people might need to talk about. For example: do we want to rely so heavily on today’s technology for things like prayer and fasting? Or do we want to find other routes of seeking and supplying this information that gets us offline and perhaps brings us in closer physical proximity to one another? I think these are important questions that go beyond graphic design, but also directly involve graphic design. "]]]></description>
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<item rdf:about="https://www.theguardian.com/books/2022/sep/10/babel-by-rf-kuang-review-an-ingenious-fantasy-about-empire">
    <title>Babel by RF Kuang review – an ingenious fantasy about empire | Fantasy books | The Guardian</title>
    <dc:date>2023-03-22T02:06:05+00:00</dc:date>
    <link>https://www.theguardian.com/books/2022/sep/10/babel-by-rf-kuang-review-an-ingenious-fantasy-about-empire</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Translation is the key to magic, as Kuang uses her genre to sharpen a historical investigation into colonisation, learning and power"

...


"Welcome to Babel: the great Oxford translation institute in an alternative version of Victorian England, where translators hold the keys to the British empire. Every device and engineering technique there is, from steam trains to the foundations of buildings, relies on silver bars enchanted with “match pairs”; words in two different languages that mean similar things, but with a significant gap between them. The bars create the effect of the difference: feelings, noises, speed, stability, colour, even death. The magic comes from “that sublime, unnameable place where meaning [is] created”.

Bright children are taken from all corners of the empire, fluent in Chinese or Arabic, raised in England, and put to work at Babel to translate, thus finding new match pairs and making new magic – only ever used for the benefit of the rich in London, and to the detriment of those the translators must leave behind in their colonised homelands. We follow Robin Swift from his earliest childhood in China, through his time at Babel, and from his hope that translation is a way to bring people together, to the terrible realisation that, in this colonial framework, “an act of translation is an act of betrayal”.

If it sounds complicated, that’s because it is. This is a scholarly book by a superb scholar – Kuang is a translator herself. The pages are heavy with footnotes; not the more usual whimsical ones, in the style of Susanna Clarke or Terry Pratchett, but academic notes, hectoring and preachy in a parody of the 19th-century tomes Swift and his friends at Oxford must study. The characters’ conversation flies from theories of translation to quotations from Sanskrit, from Dryden to the authors of the Shijing; they are pretentious, but vulnerable too, and the balance is lovely.

The fantastical elements underpin real history, rather than alter it; silver magic is what makes everything happen, and the grandest event it causes here – the fulcrum on which the novel turns – is the first opium war. The British empire is endlessly hungry for more silver and, in order to get it, becomes a huge drugs cartel, growing poppies in India and forcing China to buy opium. The young Babel translators become hopelessly tangled in the problem of whether to serve the corrupt institute that has given them opportunity and education, or their own people. This is not at all a far cry from Kuang’s acclaimed Poppy War trilogy, based on 20th-century Chinese history, and so fans will be in familiar territory.

Even against a whole background of clever things, the triumph here is the narrator. Swift is a complicated man. Born into poverty in China but raised by a wealthy father in England, he embodies all kinds of contradictions. On one hand, he’s an overprivileged, middle-class Hamletty brat whose headaches are always worse than anyone else’s. It comes as a revelation to him that working-class people have a hard time, because he doesn’t know any. But he is also brave, and noble, and endlessly willing to have his worst side policed by his friends. He’s a little boy who decides that his father’s housekeeper’s scones are “the Platonic ideal of bread”. He’s a naive student so shocked by the unfairness of the world behind all his money and his university that he struggles to see how to live in it. Like a set of dangerous silver match pairs, these contradictions can never quite translate each other, and they have explosive results.

This is a grim and harrowing novel; many of the characters have poisonous opinions about race, and Swift becomes increasingly embittered. The antagonists are closer to demons than humans, with no nuance, and they do sickening things. Often the allure of fantasy is escape from the real world, but there’s no escape here; Kuang’s use of the genre does not soften real history but sharpens it. Babel asks what people from colonised countries are supposed to do when they reach positions of power – while being set in a time and place where reaching those positions would, in the real world, have been impossible. It is a fantastically made work, moving and enraging by turns, with an ending to blow down walls."]

]]></description>
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    <title>Nuevo canal, nuevo curso del Ulises, nueva computadora... - YouTube</title>
    <dc:date>2023-03-19T03:46:27+00:00</dc:date>
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<item rdf:about="https://tinhouse.com/podcast/elaine-castillo-how-to-read-now/">
    <title>Elaine Castillo : How to Read Now - Tin House</title>
    <dc:date>2023-01-27T15:52:25+00:00</dc:date>
    <link>https://tinhouse.com/podcast/elaine-castillo-how-to-read-now/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“White supremacy makes for terrible readers” says today’s guest Elaine Castillo, arguing that we are all overeducated in a set of fundamentally terrible reading techniques, ones that impoverish us as readers and thinkers, ones that diminish the availability of meaning and meaningfulness in our lives. When Castillo says “read,” and suggests that how we read needs a reevaluation, she is indeed talking about books. But not only. “How to read” extends to what we watch—television, movies, the news—to how we read our histories, and ultimately to how we read the world. What if we aren’t really reading in the true sense at all? And what would a real reading practice, one that is not extractive but one that itself endows meaning, what would it do for us as readers, or as writers or art-makers or activists, and most importantly, as thinking and feeling people in the world? Join Elaine Castillo as she challenges us to re-vision reading."

[transcript:
https://tinhouse.com/transcript/between-the-covers-elaine-castillo-interview/ ]

[also here:
https://podcasts.apple.com/us/podcast/elaine-castillo-how-to-read-now/id583648001?i=1000579812795

https://www.stitcher.com/show/between-the-covers/episode/elaine-castillo-how-to-read-now-206823092 ]

]]></description>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=RZoL1ilperw">
    <title>Listening Across the Tree of Life, Karen Bakker - YouTube</title>
    <dc:date>2023-01-17T04:44:29+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RZoL1ilperw</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A 30 minute lecture and ensuing discussion on how digital technologies have enabled bio-acousticians and eco-acousticians to make remarkable breakthroughs in the study of nature's sounds led by Dr Karen Bakker.

This lecture presents research discussed in Karen Bakker's most recent book: The Sounds of Life: How Digital Technologies are Bringing Us Closer to the Worlds of Animals and Plants, Princeton University Press. Bakker shares fascinating research findings from recent bioacoustics studies of turtles, coral, bats, and even plants. Join us to learn how scientists are mobilizing bioacoustics and ecoacoustics for environmental conservation and ecosystem regeneration. How does this enrich current scientific research on interspecies communication?

This video is part of the Interspecies Conversations lecture series. A regular online lecture series that invites leading professors, scientists, researchers, and students to share and present their work around interspecies communication and approaches to deciphering the signals of other animals. It aims to showcase emerging ideas and discoveries and include open discussions where the community can join the conversation with ideas and feedback. 

More on the lecture series: https://www.interspecies.io/lectures
More on Interspecies Internet: https://www.interspecies.io
The TED Talk that created a buzz: https://youtu.be/wGMLhaa98GI
Join our Slack Channel! https://interspeciesio.slack.com "]]></description>
<dc:subject>karenbakker sound sounds listening recording nature animals multispecies morethanhuman whales elephants bats dolphins birds peacocks landscape primates communication interspecies research conservation environment ecoacoustics acoustics coral rurtles plants biology bioacoustics via:todrobbins 2022 audio soundscapes microphones sensing allthesenses camilaferrara echolocation bees honeybees ethics indigenous indigeneity translation</dc:subject>
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<item rdf:about="https://vimeo.com/772226780">
    <title>Eyeo 2022 - Dorothy Santos on Vimeo</title>
    <dc:date>2023-01-02T08:54:35+00:00</dc:date>
    <link>https://vimeo.com/772226780</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["SONIC FUTURES
| Dorothy Santos at Eyeo 2022 |

Dorothy worked in the biotech and pharmaceutical industry for 14 years, and didn’t realize how one set of rules around language would change her perspective on how she communicates and writes stories. In particular, how do we follow the rules of language when we may not understand what is being communicated? How does one make another human being understand the importance of something they have yet to learn? In this talk, Dorothy shares her research and work in interactive fiction, playable media, text-based work, and the practice of subversion through methodology."]]></description>
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