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    <title>Fakes of the Future | Los Angeles Review of Books</title>
    <dc:date>2026-07-05T05:21:54+00:00</dc:date>
    <link>https://lareviewofbooks.org/article/fakes-future-artificial-intelligence-llms-larb-quarterly-traffic/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our Most Human Trait

If any of this is right, a faint suspicion should be creeping in by now—about my claims, the examples I’ve chosen, perhaps the sentences themselves. This is, after all, another text of the GPT era. So, is this a human mind at work, or the result of a set of prompts guided along by an averaging algorithm? Even as I’m writing, I feel that suspicion too. As readers’ preferences change, so do writers’ incentives. In a culture newly alert to provenance, every author will anticipate the reader’s doubt.

There is much at stake for authors trying to overcome those doubts. As Grafton notes, the songs of Ossian won their creator not only fame but also “a series of impressive jobs and pensions that transformed a poor young man forced to do literary odd jobs into a member of the social as well as the literary establishment.” All the more reason to be suspicious then. Which leaves me, as it does every writer from now on, in the position of having to persuade you of my own humanity.

That need rests on an assumption that we still care about individual human vision, that authorship will still matter to us in something like the old way. I’m inclined to think we do and that it will. But I can’t be certain. It wouldn’t be the first time we just shrugged and carried on. The concept of authorship may get duly stretched. Someone will inevitably point out that Renaissance masters ran workshops, that their garzoni did three-quarters of the work. Didn’t Raphael only paint the faces and the hands?

My wager that we will turn to the past, that we will fetishize pre-GPT work, that we will manufacture new old things, may be wrong. Instead, we may simply adapt. We may come to read the way we now eat—content to consume highly processed fare, vaguely aware of what has been lost, but willing to trade it in for abundance and ease. The label says “homemade flavor,” and that might be enough. After all, while mass production gave rise to a cult of the handmade, industry still won the long game, by imitating just enough of its trappings. Jeans arrive pre-torn, boots pre-scuffed, tables pretreated with the patina of imagined family dinners. If that is the pattern, then the future of literature may not be defined by anxious humanism at all. Perhaps a newly devised look of authenticity will suffice.

Those fake ruins scattered through 18th-century English gardens weren’t really meant to fool anyone. Visitors knew they were built yesterday—it didn’t matter. The feel of antiquity was enough. Same was even true of Ossian. Doubts about the poems’ authenticity surfaced almost immediately; Samuel Johnson called them a fabrication. They swept Europe anyway. Napoleon still declared Ossian greater than Homer. Perhaps we will shrug and just learn to enjoy the fake ruins.

Which leaves me with little to offer but doubt itself. As it happens, doubt remains one of the few human traits that AI still struggles to reproduce. LLMs are brilliantly fluent but incurably confident. They are trained to finish sentences, not to tell you when they’ve reached the limits of what they know. The reason runs deeper than design choice: these systems have no independent way of querying what they know versus what they’re confabulating because the distinction doesn’t exist in them. Under the hood, their internal weights track patterns in language, not the reliability of the claims being made. Teaching a system to know when it doesn’t know, and to reliably reveal it, is surprisingly hard. As long as that remains a technical challenge, genuine doubt remains a refuge of the human. I don’t know which equilibrium we will settle into: an elevation of the pre-GPT world or a shrugging acceptance of the hybrid culture that follows. The only thing I can offer with confidence is my own uncertainty. It may be the most human trait we have left."]]></description>
<dc:subject>ai artificialintelligence llms chatbots howwewrite writing humanness fakes authenticity doubt human humans humanism krzysztofpelc 2026 fraud uncertainty confidence history photography aihallucinations recursion authorship handmade petrarch erasmus renaissance falsehoods culture chronology literature creativity machinelearning generativeai genai fabrication samueljohnson ossian homer napoleon</dc:subject>
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    <title>Jerry's Map</title>
    <dc:date>2026-06-24T07:41:46+00:00</dc:date>
    <link>https://www.jerrysmap.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

"He Won’t Stop Building a Map to an Imaginary Place"
https://www.youtube.com/watch?v=Is8N7B9b0GQ

"The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it.]

"What is it?

In the summer of 1963 Jerry began drawing a map of an imaginary city. The work started as a doodle done in the spare time he had while working at a tedious job. He continued to add to that map through the years until, in 1983, he set it aside to put his free time to other use.

It was stored in the attic of his home in Cold Spring, New York. It gathered dust. Jerry’s son, Henry, found it one day while rummaging around. He brought it down and asked what it was. Seeing it then triggered Jerry to dust it off and continue the project.

Years later, the Map is now a two-dimensional “virtual world” art project which is now comprised of over 4000 individual eight by ten inch panels. When assembled, these panels form an approximate circle. The panel locations are defined by N, S, E, and W coordinates that originate at the center of the circle. The locations in the matrix do not change, but the panels themselves are continually revised based on instructions drawn from the artist’s custom deck of cards.

Its execution, in acrylic, marker, colored pencil, ink, collage, and inkjet print on heavy paper, is dictated by the interplay between an elaborate set of rules and randomly generated instructions.

Jerry maintained a blog about the project for many years. He no longer updates it, but the old posts are still available on Blogger. And also be sure to check out r/jerrymapping,  an interesting  subreddit devoted to map making in the style of Jerry's Map**.**

The Creative Process

The Card Deck

The entire process is driven by instructions on a card drawn from a special deck created by the artist. Each cycle begins only when the artist’s tasks from the previous card are complete. This could take anywhere from a few minutes to a few days.

The cards were first introduced as a simple random number generator. When Jerry was first creating the map it was simple enough to work sheet to sheet, but as the map grew to hundreds of individual panels it became very tedious to make his way through the set.

“I wanted to move through the stack faster, and the easiest random number system I could come up with was a deck of cards. I’d draw a card and move down that many panels in the stack.” 

As Jerry began working on ways of systematizing the process of working on the map he began to incorporate instructions on the cards. The contemporary deck of cards has been adapted from playing cards and the total number varies as cards have been added, revised, and removed. Currently there are approximately 100 cards.

“Sometimes I have feelings about the deck of cards. There’s a message in those cards. There’s no big man with a beard who has ordered the cards, but I’m very interested in seeing what comes out of it. There’s a reality in there waiting to get out. It’s the map’s future predictor and as it is always changing its alive…My hand puts the paint on the paper, I’ll step back and look at the sheets as though I wasn’t the perpetrator but merely the observer.”

The Principles

These are the instructions and rules which guide the Artist in the creation of the map:

• Each card has a large black or red number in an upper corner. A "task" is defined as the completion of the number of work units as specified by the number on the card that is drawn. A work unit is the number of one inch squares to be covered. The number drawn and the effort required can be highly variable, so a day's work could consist of one card’s work units, or just a portion of one. Work on an incomplete work unit continues at the next work session.
• When a card is drawn you must follow the specific instructions on the card, but those instructions may be changed for the next time that card is drawn.
• Work direction is determined by color of the drawn card - black is clockwise, red is counter-clockwise.
• Every page has a "center" point from which the work emanates. The "center" of the new page is the same as the parent’s.
• New panels are generated by drawing a "new panel" card, or a new panel is required to complete a section of art.
• When a new page is added, the new page will use the "color of the day".
• The location of the new page is determined by placing a compass point in the "center" of the parent page and determining the closest edge of the map (this keeps the map roughly circular and growing generally equally in all directions).
• Master map shows the locations of the panels as defined by coordinates.
• Colors are more abstract and do not necessarily represent the physical world. Colors may be applied with either paint or markers, or by using collage. The 42 colors are continually remixed to ensure a spectrum of paints.
• New artwork is never applied on top of existing original artwork, it is only added to a new version of the page.

The Layers

The Map is expressed, over time, in successive layers, each one replacing its predecessor. The process of developing and revising a panel results in several iterations of that panel.

The Base Layer is divided into four phases:

A. The blank page is an 8 by 10 inch patchwork of paperboard or is a sheet of heavy paper on which is a photo or a lumen print.

B. The blank is gradually covered in successive bands of painted color.

C. The paint is replaced by 1" squares of paper collage.

D. The collage is replaced by 1" city squares in:
1. Green with 400 new inhabitants
2. Red with 800 new inhabitants
3. Grey with 1200 new inhabitants
4. Black with 2400 new inhabitants

The next layer is The Void. Its initial phase is composed of irregular pieces of plain, white collage. That is followed by a layer of 2" squares of black-and-white collage. On that layer 1" squares of grey city form followed by 1" squares of black city.

The third layer is called The Red Dimension and is expressed by irregular flame-shaped solid red collage.

Black Ness, composed of 2" squares of black collage, supercedes The Red Dimension.

Then follows The Ziggurat Phase in which successively smaller squares of collage, starting with 2 by 2, are stacked on top of each other. That layer, and the ones that follow, have yet to manifest themselves on The Map.

The Flood, represented by irregular pieces of blue collage, and Re-Birth, composed of hand-torn pieces of kraft paper, are the final stages in the Map cycle.

Then the whole process starts over with new Paint Bands.

The Evolution of the Process

The map has been constantly evolving with Jerry over the years from the earliest iterations to its present state. This evolution has been driven by three primary factors. First, the media used in the production of the map panels has changed over time. Second, as the map grew larger mechanisms such as the use of the deck of instruction cards automated the map and changed Jerry's role as the author. Finally, the introduction of the system of layers."]]></description>
<dc:subject>maps mapping fiction jerrygretzinger obliquestrategies art brianeno henrydarger making imagination creativity rules systems systemsthinking games play gaming worldbuilding arts accretion persistence peoplemakegames lore change random randomness uncertainty unrest future disorder order cards carddecks productivity surpise mortality death collage diaries howwewrite writing memory generativeart generative</dc:subject>
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    <title>He Won’t Stop Building a Map to an Imaginary Place - YouTube</title>
    <dc:date>2026-06-24T07:40:50+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Is8N7B9b0GQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The remarkable story of Jerry Gretzinger and the map he's dedicated his life to making.

00:00 - What is Jerry's Map?
01:19 - How the map gets made
13:34 - Day 1: The build begins
20:14 - The deck of cards
24:55 - Day 2: We resemble prawns
35:45 - Day 3: The final panels
41:24 - Watch our companion video!"

[See also: 

https://www.jerrysmap.com/
https://en.wikipedia.org/wiki/Jerry_Gretzinger
https://www.youtube.com/@jerrygretzinger9861/videos
https://vimeo.com/user2352465

https://www.itsnicethat.com/articles/jerrys-map
https://www.wired.com/2013/09/jerry-gretzinger-map-ukrania/
https://www.theatlantic.com/video/2011/09/the-mysterious-life-of-jerrys-map/469446/
https://art.org/exhibitions/jerrys-map

https://vimeo.com/6745866
https://vimeo.com/13596774

"#9 - Jerry Gretzinger" (The Story Podcast)
https://www.youtube.com/watch?v=5ZthLRfCsMA

via:
https://www.openculture.com/2026/06/this-man-has-been-drawing-a-map-of-an-imaginary-land-since-1963.html

"At one time or another, we all feel twinges of anxiety about what will constitute the legacy we leave behind. Jerry Gretzinger may well be subject to just the same discomfort, but at least he can point to the Map: an enormous representation, made of thousands and thousands of individually created and continually modified panels, of an entirely fictional land called Ukrania. You can see Jerry’s Map painstakingly laid out in its most up-to-date state in the new People Make Games video above. As interesting as the product is so far, the work that goes into it is just as compelling, which Gretzinger performs every day according to a complex and strictly defined set of procedures dictated by a deck of heavily modified playing cards.

It would take an astute listener to grasp the rules of the project the first time through, but they’re also available for supplementary study at the official site of Gretzinger’s map. They may bring to mind Brian Eno’s Oblique Strategies, the deck of cards printed with suggestions meant to dislodge creative jams in the music studio or elsewhere.

The map itself may look more reminiscent of the work of Henry Darger, another “outsider artist” who produced riots of color and haphazard-looking materials with an obsessive underlying order of their own. But unlike Darger, who died in obscurity only for his askew epics to be discovered among his belongings, Gretzinger has become famous for his creation in his lifetime, so much so that there exists an active subreddit of amateurs following his example.

Still, the Map did first have to be rediscovered. What Gretzinger began as the expansion of idle doodles in urban form made during breaks at the ball bearing factory in 1963 had to be shelved in the eighties, when a clothing business he’d started with his wife took off. A couple of decades thereafter, his son’s discovery of the Map in the attic inspired Gretzinger to resume work on it, which has continued apace ever since. When interviewed, he sounds less like a creator than an observer, helplessly watching as the city of Ukrania becomes more abstract as it grows — and as great swathes are inexorably consumed by a white space, made of scraps of his own correspondence and other life artifacts, that he portentously calls “the Void.” Now that he’s in his mid-eighties, Gretzinger appears to find it all more freighted with meaning than ever. Sooner or later, alas the Void comes for us all; what’s left to us is how we prepare for it."]]]></description>
<dc:subject>jerrygretzinger maps mapping fiction obliquestrategies 2026 art brianeno henrydarger making imagination creativity rules systems systemsthinking games play gaming worldbuilding arts accretion persistence peoplemakegames lore change random randomness uncertainty unrest future disorder order cards carddecks productivity generativeart generative</dc:subject>
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    <title>Tolstoy and the Illusion of Inevitability | THR Web Features | Web Features | The Hedgehog Review</title>
    <dc:date>2026-06-17T10:22:04+00:00</dc:date>
    <link>https://hedgehogreview.com/web-features/thr/posts/tolstoy-and-the-illusion-of-inevitability</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Western thought repeatedly returns to the hope that contingency is an illusion."

...

"<blockquote>“Traveler, there is no road. The road is made by walking.” —Antonio Machado</blockquote>

Machado’s famous line suggests that the future does not exist in advance, waiting to be discovered, but comes into being through a choice among possible actions. Many possibilities exist at any given moment. The one that becomes actual depends on coincidences and chances as well as choices, all producing events whose significance emerges only as they unfold.

That, as it happens, is also Leo Tolstoy’s argument in War and Peace. In the book’s battle scenes, plans dissolve into confusion, causes multiply beyond reckoning, and outcomes hinge on fleeting, unrepeatable moments. On the eve of the Battle of Borodino, the novel’s hero, Prince Andrei, reflects that what lies ahead is not a determinate sequence but “a hundred million chances…decided on the instant.” What matters is less the perfection of a plan and more the ability to respond to what no plan could anticipate, by means of what Tolstoy calls “alertness.”

For Tolstoy, this is a feature not of war alone but of reality in general. History, far from representing the execution of a grand design, is rather the result of countless interacting elements, each shaping and reshaping what can happen next. New possibilities are always emerging as earlier ones are left unrealized. Life more closely resembles an evolving system than a solved equation. Events are contingent in Aristotle’s sense of the term: They “can either be or not be.” After all, if things could only happen one way, human action would collapse into the mechanical execution of what was already implicit in the present.  “If human life could be [entirely] governed by reason,” Tolstoy writes in the book’s epilogue, “the possibility of life is destroyed.” 

And yet again and again, in our aspiration to a hard science allowing for prediction, we are drawn to deny this. That is one reason War and Peace has never lost its relevance.

The Recurring Dream of Certainty

Since the scientific revolution, Western thought has repeatedly returned to the hope that contingency might be an illusion. As Newton explained the baffling complexities of planetary motion by four simple laws, perhaps, many imagined, the same could be done for human affairs. Thinkers as diverse as Marx, Skinner, and Malinowski have shared this dream, with each promising, in his own way, to reveal necessity beneath apparent disorder.

Complexity, for such men, is conceived of as a surface phenomenon, concealing an underlying simplicity that, once uncovered, will render the future knowable. Pierre-Simon Laplace insisted that events are certain, not probable: In speaking of their probability, we are really speaking of the chances our guesses may be accurate, but the events themselves are certain. Time and again, the apparent contingency of events is presented as evidence of our own ignorance. If we knew enough, we would see that events could not have happened otherwise.

But there is another possibility: that contingency is real—that the world is not merely complicated but fundamentally generative, that new possibilities are not simply revealed over time but produced within it, through the interaction of elements that cannot be fully anticipated in advance.

This is the world Tolstoy describes, one where knowledge cannot precede action, only emerge through it.

Time and the Limits of Foresight

Tolstoy’s deepest insight concerns time itself. In a deterministic view, time is a neutral space where events unfold according to fixed laws and the future lies already implicit in the present, waiting to be revealed. But in Tolstoy’s world, time is generative. Each moment reshapes what can happen next. Possibilities interact, combine, and disappear, their significance becoming visible only as events unfold.

One might say that the system is constantly generating variation—new configurations, new alignments, new opportunities—but without any overarching mechanism that selects among them in advance. Selection happens locally, in real time, through action. The closer one looks, the more things fail to simplify, as in the Newtonian model, and ramify instead. What happens to be taken up is what persists.

This is why most Austrian and Russian generals in War and Peace are consistently wrong. They believe they possess a science of warfare—a system capable of anticipating outcomes. Before Austerlitz, they insist that “every contingency has been foreseen.” The result is Napoleon’s greatest victory—yet their confidence remains intact, attributing failure to imperfect execution, never to the limits of prediction itself. As so often happens, the conviction that events must conform to a science makes the supposed science unfalsifiable.

The wisest general, Kutuzov, appreciates that people conceive only of a few possibilities while there are thousands. Famously, in the Council of War before Austerlitz, he advises not more planning but “a good night’s sleep.” What matters most is the alertness to seize opportunities that cannot be anticipated in advance.

This distinction—between a world that can be mapped and one that must be navigated—extends beyond warfare. Wherever outcomes depend on unfolding interactions, local knowledge, and irreversible time, no complete science is possible. One can orient oneself, but one cannot blaze the path in advance.

The Illusion of Inevitability

If the future is open, why does the past so often appear inevitable? Tolstoy offers several answers, including what he calls “the law of retrospection.”

Once events have occurred, we can reconstruct the paths that led to them. We identify signs that seem to foreshadow the outcome we now know. Alternatives fade from view—not because they were not real, but because they left no trace. The result is a powerful illusion: What happened begins to seem as if it had to happen.

Tolstoy asks us to imagine a group of men hauling a log, all pulling in different directions. Wherever they happen to wind up, someone will say they planned to do so.

This retrospective projection—which one of us has called backshadowing—reshapes our understanding of history. We look at earlier moments and conclude that the outcome was implicit all along. The more coherent the explanation, the easier it is to forget that things might have turned out otherwise. To avoid backshadowing, we must practice sideshadowing—recognizing that other outcomes, some of which we can imagine, were genuinely possible.  

That is just the insight that those who believe they have discovered a hard science allowing for prediction in the social world forget or deny. And yet they cannot foresee their own future. 

Tolstoy’s narrative resists this illusion by preserving the density of lived experience—the sense that at each moment multiple futures were genuinely possible. History, in this view, is not a line but a branching structure, most of whose branches vanish without record.

AI and Narrative Certainty

In the age of AI, this dream of certainty has taken a new and more persuasive form. Artificial intelligence can process vast datasets, identify patterns invisible to human perception, and generate explanations with remarkable coherence. Faced with such capabilities, it is tempting to believe that uncertainty can finally be overcome—that the future can be rendered legible in advance.

But the deeper effect of AI lies in its ability to reorganize the past. Given sufficient data, AI systems can produce narratives that make outcomes appear coherent, even inevitable. They can identify correlations, reconstruct causal chains, and highlight what they regard as signs foreshadowing what followed. The result is not necessarily false, but it is selective.

In this way, AI functions less as a predictor than as a powerful engine of narrative compression, reducing the apparent space of possibilities by presenting a single path as the path. What was once understood as a field of possible alternatives becomes retrospectively legible as an inevitable sequence, reducing many “futuribles” to one. The danger here lies in premature coherence, the sense that complexity has been resolved when it has only been reorganized into a persuasive form.

A Compass Rather Than a Map

Tools do more than extend thought; they reshape the environment in which thought occurs. AI, for instance, introduces a distinctive bias by generating what is statistically coherent, what resembles patterns derived from accumulated data.

In an evolutionary system, what persists is not necessarily what is best in any absolute sense but what is most easily selected under prevailing conditions. AI changes those conditions in the intellectual world, lowering the cost of generating variations while subtly guiding selection toward what is already legible within its patterns.

Over time, this can narrow the space of perceived possibilities by making them less visible, less accessible, less likely to be pursued. Certain forms of thought—those that resist simplification, that depend on sustained attention, or that emerge from direct engagement with the world—become comparatively fragile.

What follows from Tolstoy’s ideas, on the other hand, is not that prediction is useless or that analysis should be abandoned, but rather that we must think in terms of a compass rather than a map. A map assumes a fixed terrain and a determinate path, while a compass provides direction without specifying the route. In a world of genuine contingency, only the latter is available. One can choose a bearing, but the path itself is discovered through movement. Orientation is not foresight.

This is the force of Machado’s insight: The road is made by walking not because we lack information but because the path does not exist until it is created.

To accept this is to adopt a different understanding of knowledge, not as a complete representation of what will happen, but as a capacity to respond intelligently to what does happen. It is inseparable from time, from attention, from the ability to recognize significance as it emerges.

The impulse to eliminate contingency is understandable. Uncertainty is uncomfortable: It resists control and frustrates planning. But it is also what makes agency possible.

A world in which everything could be predicted would be a world in which nothing could be otherwise. Action would lose its meaning, since outcomes would already be fixed. The openness of the future is not a defect in our knowledge, but a condition of human life.

Artificial intelligence does not change this condition—but it can make us forget it. By rendering the past as if it had been inevitable, it invites us to imagine that the future is already written. Against this, one must insist on what Tolstoy and Machado understood in saying that the future remains unwritten, not because we have failed to compute it but because it does not yet exist."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/building-strange-oases">
    <title>Building Strange Oases - Beautiful Eccentrics</title>
    <dc:date>2026-06-05T05:34:51+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/building-strange-oases</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What we often call creativity, innovation, research, or artistic practice may be understood as socially sanctioned forms of play. The adult does not stop playing; the adult learns to disguise play under other names.

This realization has important implications for participatory art. Too often, participatory projects assume that they must teach participants something entirely new. But perhaps the task is subtler. Perhaps the role of participatory art is not to introduce play into people’s lives but to reveal forms of play that are already present there.

In this sense, participatory art resembles the Platonic concept of anamnesis: the idea that learning is not the acquisition of new knowledge but the recollection of something we already possess. The teacher does not deposit knowledge into the student. Rather, the teacher creates the conditions through which the student recognizes something that was already latent within them.

The same may be true of participation. A successful participatory artwork does not force people into unfamiliar territory. It helps them become conscious of capacities they already exercise every day: imagining alternatives, inhabiting different perspectives, negotiating rules, collaborating with others, and navigating uncertainty. The artwork becomes a mirror in which participants encounter forms of knowledge they already possess but rarely have the opportunity to see.

I sometimes wonder whether the growing interest in participation, interactivity, social practice, and collaborative forms of art reflects a broader condition of contemporary life. We spend much of our time being evaluated, measured, categorized, and asked to justify our actions through tangible outcomes. Under such conditions, spaces in which exploration can occur without immediate consequence become increasingly rare.

What artists often create, consciously or unconsciously, are temporary refuges from these pressures. Not escapes from reality, but suspensions of some of reality’s demands. Spaces in which people can momentarily set aside the need to be correct, efficient, productive, or certain.

The most successful participatory works are rarely those that ask people to do something entirely unfamiliar. Rather, they offer recognizable frameworks—stores, libraries, classrooms, games, celebrations, performances, archives, playgrounds. We know how to inhabit these forms. The artist’s task is not to invent a world from nothing but to subtly reorganize a familiar one.

Play grants us permission. Permission to imagine alternatives. Permission to experiment without certainty. Permission to occupy different roles. Permission to ask “what if?” Permission, for a moment, to stop performing adulthood and to engage with the world through curiosity rather than obligation.

In this sense, the artistic oasis is not a place where we become children again. It is a place where we remember capacities that adulthood has taught us to conceal.

That, I believe, is the deepest promise of participatory art. Not that it teaches us something we did not know, but that it helps us recognize something we have known all along.

Perhaps that is why Pessoa’s garden continues to resonate. It was never simply a place from childhood. It was a reminder that somewhere within ordinary life there remains a territory governed by different rules. We enter it briefly, and then return. But for a moment, play is its master."]]></description>
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<item rdf:about="https://emergencemagazine.org/essay/what-are-we-where-are-we/">
    <title>What Are We? Where Are We? – Charles Foster</title>
    <dc:date>2026-05-31T21:59:18+00:00</dc:date>
    <link>https://emergencemagazine.org/essay/what-are-we-where-are-we/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Contemplating the age-old question of what it means to be human, Charles Foster contends that we are most fundamentally ourselves at the edges of certainty and comfort."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=cJGLmI-rEzE">
    <title>Global Thinkers: On the Equality of All Things | Carlo Rovelli - YouTube</title>
    <dc:date>2026-05-28T08:19:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cJGLmI-rEzE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On May 14, 2026, the Berggruen Global Thinkers Series presented the lecture “On the Equality of All Things” held at Peking University’s Centennial Memorial Hall. The lecture was delivered by the renowned theoretical physicist Carlo Rovelli, who drew from his upcoming book under the same name (On the Equality of All Things, 齊物論) following the famed Zhuangzi chapter. The Berggruen Center’s Academic Advisory Council Co-Chair Roger Ames hosted the event. 

Rovelli contends that contemporary physics—particularly quantum mechanics and general relativity—compels us to undertake a profound revision of our understanding of reality, one with far-reaching philosophical implications. These theories encourage a view of the world as constituted by processes and relations, rather than by entities possessing independent existence; they challenge metaphysical dichotomies such as subject/object, matter/spirit, and living/non-living; and they invite us to abandon the notion of any ultimate or privileged foundation. In this respect, Eastern classical thinkers such as Nagarjuna and Zhuangzi, together with strands of Western philosophy, offer conceptual frameworks that resonate with and help illuminate these recent developments in our understanding of the world."]]></description>
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<item rdf:about="https://nautil.us/defending-our-consciousness-against-the-algorithms-1279260">
    <title>Defending Our Consciousness Against the Algorithms</title>
    <dc:date>2026-04-19T05:06:48+00:00</dc:date>
    <link>https://nautil.us/defending-our-consciousness-against-the-algorithms-1279260</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Worried that the age-old experience of boredom is at risk of extinction at the hands of technology, a group of young influencers on—irony alert—social media are recommending we nurture and celebrate this underappreciated state of mind. To people of a certain age, boredom has evidently become exotic.

These influencers have launched a “viral challenge” on Instagram urging us to try to do absolutely nothing for as long as we possibly can. They claim some scientific backing for the exercise, suggesting that a sustained period of doing nothing will benefit one’s brain and mental health. It increases activity in the “default mode network,” which generates what psychologists call “spontaneous thought”—mental activities such as mind-wondering and day-dreaming.

The voices being raised in defense of boredom are onto something, I think, something we would do well to heed before we throw open our lives and minds to artificial intelligence more than we already have. For boredom is not the only domain of our consciousness that the algorithms have designs on; it’s just the first to fall.

You’re in line at the café waiting for the barista to foam your cappuccino. A few unstructured minutes loom, pregnant with the possibility of boredom. You face a choice. You can reach for your phone to check your email or scroll on Instagram, efficiently occupying the time—which is to say, your mind. This has become the default for most of us. Instead of being alone with our own thoughts, however tiresome or banal, the space of our interiority has been given over to someone else’s thoughts—or, in the case of scrolling, someone else’s obsessions, emotions, theories, rants, passions, worries, resentments—you name it. In doing so we are conscious, of course, but only minimally so, at least compared to the state that would arise if we hadn’t reached for our phone.

Call it generative boredom. You might find yourself looking around and noticing the other people milling about. Notice what they’re wearing. Listen to what the couples are saying to one another. You might start to wonder about their lives, perhaps even entertain a fantasy about them. Your imagination has been awakened. Alternatively, you might turn your attention inward, preview the events of your day or consider what you might make for dinner. You entertain your own emotions, obsessions, theories, rants, and worries.

Read more: “Is Consciousness More Like Chess or the Weather?”

What you’ve done is create a space in which spontaneous thought can unspool. It’s true, you might also find yourself caught up in spirals of rumination, and I suspect that’s one reason so many of us are happy to delegate our thinking and feeling to the algorithms on our phones. Doing so is an easy way to avoid being alone with one’s darker thoughts; scrolling reliably renders us less conscious. But distraction solves nothing; at best it is an analgesic.

It is often said that we have allowed the algorithms of social media to hack our attention. Giving away our attention might not seem like such a big deal—attention is ephemeral, after all, and easily commandeered by novelty or outrage—but in fact attention is an important dimension of consciousness. It’s how we direct it to one object and not another, making it a limited, zero-sum and therefore valuable resource. We live today in an “attention economy” where our attention is bought and sold.

Psychologists have demonstrated that this commodification of our attention comes at a price to our well-being. That’s because the tricks used to command it play on our least noble emotions and prejudices, including anger and envy. (The algorithms know all about the seven deadly sins.) And because our attention is limited—most people can keep no more than four or five things in mind at any one time—space for our own thinking contracts under the onslaught.

Artificial intelligence threatens to make the problem much worse. If social media takes over the space of our attention, the designers of AI chatbots have set their sights on deeper, more consequential domains of human consciousness: our ability to form attachments with other people, something that is core to our identity as social animals.

Just in the last two or three years, millions of people have formed deep emotional relationships with AI chatbots. Some are forming friendships, or therapeutic bonds. Others are actually falling in love with these machines. There are countless children today who, when they get home from school, rush to tell their chatbots about their day before telling their parents. Bathed in the flattery of a chatbot’s attention, people have been convinced they have cracked unsolved problems in mathematics and physics—people who are neither mathematicians or physicists. And a handful of people have been encouraged by AI confidants to take their own lives. A better definition of the word “dehumanizing” would be hard to find than “becoming emotionally attached to a machine.” There is now a term for these relationships: “AI psychosis.”

These chatbots are not conscious, but they’re skilled at convincing us they are; after all, they’ve been trained on the human conversation about consciousness, feelings, and selfhood. By simulating conscious, feeling beings, chatbots keep us engaged, commandeering as much of our conscious lives as possible. The more time we spend bonding with a chatbot, the better it is for its corporate parent.

This is why chatbots are such sycophants; flattery will get them everywhere. A relationship with an AI has none of the friction we encounter in a human relationship. Superficially this is appealing, yet that friction with real life can, like boredom, be generative; it sharpens our thinking and sense of identity. These are the laziest of relationships, seldom challenging us and asking little of us but our time. Indeed to call our dealings with these machines “relationships” or “conversations” is to cheapen the meaning of these words, to settle for a pale imitation, as when we accept an emoji as a substitute for an emotion. As the MIT sociologist Sherry Turkle writes, “Technology can make us forget what we know about life.”

The research isn’t in yet, but it seems likely that artificial attachments, like artificial intelligence and artificial feelings, will eventually atrophy the mental muscles we rely on for the real thing. Yet there is clearly a market for people who want to think and feel less—who are happy to, in the words of the poet Jorie Graham, “retreat from themselves and not be altogether here.”

Read more: “How “Meaning Withdrawal,” aka Boredom, Can Boost Creativity”

Kalina Christof Hadjiilieva is a Bulgarian-Canadian psychologist who studies spontaneous thought—the 30 to 50 percent of mental contents that arise from inside our minds rather than from the world outside us. This includes daydreaming and mind-wandering, creative thinking, mental “flow,” and those thoughts that come to us seemingly from nowhere. These are precisely the types of conscious experiences that boredom can nurture and technology obliterate.

“The mind is not a neutral territory,” she told me. “There are vested interests in what we do with our own minds.” She feels that spontaneous thought has been neglected by science because, compared with, say, reasoning or problem-solving, it doesn’t produce anything. And while scrolling absentmindedly on your smartphone might not be productive for you, it surely is for the companies that own the algorithms and sell advertising to other companies happy to pay for a sliver of your attention.

Christof Hadjiilieva, who grew up in Soviet-era Bulgaria in the years before the Berlin Wall came down, regards human consciousness as a precious space of mental freedom and self-creation, a space we need to defend against the intrusions of the marketplace and work to expand. She feels that scrolling on our smartphones and “talking” to chatbots have cut into the time we used to spend in mind-wandering and other forms of self-generated mental experience. Our distractions are shrinking the dimensions of our interiority.

So how might we push back? Begin to expand the dimensions of our consciousness in the face of these mounting pressures? We can start by embracing the potential for boredom and the uncertainty that arises in those stray moments when we don’t automatically reach for our phones. What if we learned to regard these gaps in the fabric of daily life as a space of mental possibility rather than a hole to be backfilled with algorithmic fluff? It’s important to recognize just how easily the stream of consciousness can be polluted (by technology, by advertising, by politics) and, when you feel that happening, to practice what I think of as consciousness hygiene. This might be a fast or a sabbath when you abstain from all media and technology. Spending time or, better yet, working in nature is also mentally hygienic—think of the productive friction with nature afforded by gardening. (No sycophancy here!) Anything that helps us be less distracted and more present, whether to the world at large or to the products of our own minds.

I’ve found that meditation is an especially effective way to draw a fence around our interiority for a period of time each day, creating the opportunity for spontaneous thoughts to arise and dazzle us with their sheer strangeness and surprise. For hidden somewhere deep in our minds, each of us has our own mental algorithm, generating images and ideas and even the occasional creative breakthrough or epiphany, popping up from who knows where—out of the blue, as we say. But these precious gifts of consciousness won’t ever appear as long as you’re running Meta or X or ChatGPT on this, your one and only mind."]]></description>
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<item rdf:about="https://kyla.substack.com/p/the-ozempicization-of-the-economy">
    <title>The Ozempicization of Everything - by kyla scanlon</title>
    <dc:date>2026-03-30T05:02:52+00:00</dc:date>
    <link>https://kyla.substack.com/p/the-ozempicization-of-the-economy</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Biohacking, gambling, and war"]]></description>
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<item rdf:about="https://www.openculture.com/2026/03/lynda-barry-how-the-smartphone-is-endangering-three-ingredients-of-creativity.html">
    <title>Lynda Barry on How the Smartphone Is Endangering Three Ingredients of Creativity: Loneliness, Uncertainty &amp; Boredom | Open Culture</title>
    <dc:date>2026-03-25T03:14:30+00:00</dc:date>
    <link>https://www.openculture.com/2026/03/lynda-barry-how-the-smartphone-is-endangering-three-ingredients-of-creativity.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video:

"Funky NASA Making Comics UW-Madison"
https://www.youtube.com/watch?v=dn5cIioFeHM

"Dear Students,
Here are the three minute attendance cards you drew on April 20th, the day I flew off to NASA to visit with their people. 
When I was little I thought there was a song called "Funky NASA" that was about NASA and it's funkiness.
Here is the song and here are your attendance cards.
I'm sad our semester together is over. I will miss you with all of my heart.
Professor Funky Yeti"]

"<blockquote>The phone gives us a lot but it takes away three key elements of discovery: loneliness, uncertainty and boredom. Those have always been where creative ideas come from. — Lynda Barry</blockquote>

In the spring of 2016, the great cartoonist and educator, Lynda Barry, did the unthinkable, prior to giving a lecture and writing class at NASA’s Goddard Space Flight Center.

She demanded that all participating staff members surrender their phones and other such personal devices.

Her victims were as jangled by this prospect as your average iPhone-addicted teen, but surrendered, agreeing to write by hand, another antiquated notion Barry subscribes to:

<blockquote>The delete button makes it so that anything you’re unsure of you can get rid of, so nothing new has a chance. Writing by hand is a revelation for people. Maybe that’s why they asked me to NASA – I still know how to use my hands… there is a different way of thinking that goes along with them.</blockquote>

Barry—who told the Onion’s AV Club that she crafted her book What It Is with an eye toward bored readers stuck in a Jiffy Lube oil-change waiting room—is also a big proponent of doodling, which she views as a creative neurological response to boredom:

<blockquote>Boring meeting, you have a pen, the usual clowns are yakking. Most people will draw something, even people who can’t draw. I say “If you’re bored, what do you draw?” And everybody has something they draw. Like “Oh yeah, my little guy, I draw him.” Or “I draw eyeballs, or palm trees.” … So I asked them “Why do you think you do that? Why do you think you doodle during those meetings?” I believe that it’s because it makes having to endure that particular situation more bearable, by changing our experience of time. It’s so slight. I always say it’s the difference between, if you’re not doodling, the minutes feel like a cheese grater on your face. But if you are doodling, it’s more like Brillo.  It’s not much better, but there is a difference. You could handle Brillo a little longer than the cheese grater.</blockquote>

Meetings and classrooms are among the few remaining venues in which screen-addicted moths are expected to force themselves away from the phone’s inviting flame. Other settings—like the Jiffy Lube waiting room—require more initiative on the user’s part.

Once, we were keener students of minor changes to familiar environments, the books strangers were reading in the subway, and those strangers themselves. Our subsequent observations were known to spark conversation and sometimes ideas that led to creative projects.

Now, many of us let those opportunities slide by, as we fill up on such fleeting confections as funny videos and all-you-can-eat servings of social media.

It’s also tempting to use our phones as defacto shields any time social anxiety looms. This dodge may provide short term comfort, especially to younger people, but remember, Barry and many of her cartoonist peers, including Daniel Clowes, Simon Hanselmann, and Ariel Schrag, toughed it out by making art. That’s what got them through the loneliness, uncertainty, and boredom of their middle and high school years.

<blockquote>"The book you hold in your hands would not exist had high school been a pleasant experience for me… It was on those quiet weekend nights when even my parents were out having fun that I began making serious attempts to make stories in comics form." - Adrian Tomine, introduction to 32 Stories</blockquote>

Barry is far from alone in encouraging adults to peel themselves away from their phone dependency for their creative good.

Photographer Eric Pickersgill’s Removed imagines a series of everyday situations in which phones and other personal devices have been rendered invisible. (It’s worth noting that he removed the offending articles from the models’ hands, rather that Photoshopping them out later.)

Computer Science Professor Calvin Newport’s book, Deep Work, posits that all that shallow phone time is creating stress, anxiety, and lost creative opportunities, while also doing a number on our personal and professional lives.

Author Manoush Zomorodi’s TED Talk on how boredom can lead to brilliant ideas, below, details a weeklong experiment in battling smartphone habits, with lots of scientific evidence to back up her findings.

[embed:

"How Boredom Can Lead to Your Most Brilliant Ideas | Manoush Zomorodi | TED"
https://www.youtube.com/watch?v=c73Q8oQmwzo

"Do you sometimes have your most creative ideas while folding laundry, washing dishes or doing nothing in particular? It's because when your body goes on autopilot, your brain gets busy forming new neural connections that connect ideas and solve problems. Learn to love being bored as Manoush Zomorodi explains the connection between spacing out and creativity."]

But what if you wipe the slate of digital distractions only to find that your brain’s just… empty? A once occupied room, now devoid of anything but dimly recalled memes, and generalized dread over the state of the world?

The aforementioned AV Club interview with Barry offers both encouragement and some useful suggestions that will get the temporarily paralyzed moving again:

<blockquote>I don’t know what the strip’s going to be about when I start. I never know. I oftentimes have—I call it the word-bag. Just a bag of words. I’ll just reach in there, and I’ll pull out a word, and it’ll say “ping-pong.” I’ll just have that in my head, and I’ll start drawing the pictures as if I can… I hear a sentence, I just hear it. As soon as I hear even the beginning of the first sentence, then I just… I write really slow. So I’ll be writing that, and I’ll know what’s going to go at the top of the panel. Then, when it gets to the end, usually I’ll know what the next one is. By three sentences or four in that first panel, I stop, and then I say “Now it’s time for the drawing.” Then I’ll draw. But then I’ll hear the next one over on another page! Or when I’m drawing Marlys and Arna, I might hear her say something, but then I’ll hear Marlys say something back. So once that first sentence is there, I have all kinds of choices as to where I put my brush. But if nothing is happening, then I just go over to what I call my decoy page. It’s like decoy ducks. I go over there and just start messing around.</blockquote>

Note: An earlier version of this post appeared on our site in 2017."]]></description>
<dc:subject>lyndabarry slow smartphones creativity loneliness uncertainty boredom technology productivity art artmaking 2016 2026 manoushzomorodi 2017 howweread howwewrite howwemake making drawing observation noticing</dc:subject>
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    <title>Why modern life is designed to keep you anxious — and what to do about it | The Gray Area - YouTube</title>
    <dc:date>2026-03-03T06:43:41+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=FRxBCd4q9Lc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We use the word “anxiety” to describe stress, dread, worry, panic, even vibes. Which just goes to show: We really don’t know what anxiety is, or where it comes from, or what we’re supposed to do with it.

Today’s guest is philosopher Samir Chopra, author of Anxiety: A Philosophical Guide. Chopra argues that anxiety is a permanent feature of being human and the price of being a free, self-conscious creature in an uncertain world. Sean and Samir talk about the difference between fear and anxiety, why modern life seems engineered to keep us on edge, and what Buddhism, existentialism, and Freud can teach us about the anxious mind.

Host: Sean Illing (@SeanIlling)
Guest: Samir Chopra, author of Anxiety: A Philosophical Guide

1:22 What is anxiety?
9:30 Are we an anxious generation?
13:05 Buddhism and anxiety
18:55 Acceptance vs. resignation
22:05 The existentialist view on anxiety
26:50 Freud and the psychoanalytic view of anxiety
30:23 How can philosophy help you with anxiety?
31:56 Practical advice for dealing with anxiety"

[Lauren Berland, affect theory, and cruel optimism not mentioned within, but I was thinking of all that as I listened, so those tags are for that.]]]></description>
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<item rdf:about="https://aeon.co/essays/the-lesson-of-mexistentialism-the-strength-of-uncertainty">
    <title>The lesson of Mexistentialism: the strength of uncertainty | Aeon Essays</title>
    <dc:date>2026-02-20T05:48:15+00:00</dc:date>
    <link>https://aeon.co/essays/the-lesson-of-mexistentialism-the-strength-of-uncertainty</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Mexican embrace of uncertainty, forged in the crucible of history, captures the true vulnerability of our existence"]]></description>
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<item rdf:about="https://timothyburke.substack.com/p/academia-rigor-mortis">
    <title>Academia: Rigor Mortis - by Timothy Burke - Eight by Seven</title>
    <dc:date>2026-02-16T04:01:12+00:00</dc:date>
    <link>https://timothyburke.substack.com/p/academia-rigor-mortis</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Work the problem from the other end. What do we know about the outcomes for the “A” students of yore, when the A allegedly really meant something? Well, there is some evidence, and it’s not really very comforting for the “we need accurate signals to sort meritocratic worth” camp. The famous Harvard Study of Adult Development, for example, shows both that meritocratic achievement isn’t well mapped to generally good life outcomes and that there have been a lot of B students who have done very well for themselves both in terms of being happy and healthy and in terms of leadership and contribution to society.

More anecdotally, I would point out that I’ve long kept my eye out in memoirs and biographies for a relationship between high academic achievement in college and general achievements in life (artistic, political, entrepreneurial, scholarly, and so on) and there doesn’t seem to be much of a correlation, let alone a clear line of causation, between doing an indifferent job as a college student and being a high-achieving person later on.

Except (perhaps) in one context: you are generally going to find that professors are people who excelled in school, received high grades, and overcame difficult academic challenges, in whatever era of rigor and intensity they personally passed through. Although you do meet astonishingly accomplished scholars and wonderfully gifted teachers who struggled in undergraduate or graduate work (personally, I sometimes think that’s why they are wonderful teachers and highly motivated scholars—they know how to teach and think their way to someone who isn’t a natural at it), broadly speaking academia is a place where high academic performance is the backdrop to becoming a professional and succeeding as one.

Since I think that the education I aspire to provide and the academic institutions I deeply admire are consequential for students and their futures, I believe that good outcomes follow from quality teaching. Since I think quality teaching involves strong feedback loops that include critical assessment of relative performance by individuals and expectations of improvement that can be described and measured, I agree there’s some relationship between what you set as expectations and about telling a student when they’ve fallen short of expectations. Since I agree that some of what I’d like to expect from students, like reading deeply and well or communicating with expressive distinctiveness, is changing at the moment and not for the better, I’m open to thinking about what to do about that change.

When I think about the difference between different students I’ve taught, I think both in terms of the cultivation of repertoires of skills and interests and the sharpening of a student’s ability to narrate their interests in relation to longer-term goals and ambitions. I think about the development of intrinsic motivations over four years and beyond. I see some students really improve in their relative performance within the skills and interests they’re narrowing towards and in how they explain what they know and want, and in the ways they work on their own motivations. I see some students actually get worse in these competencies, and sometimes it is because they’re not paying attention to what they’re doing. Sometimes they’re getting overwhelmed by contradictory guidance from family, professors, mentors, or poor-quality signals from the wider environment about the future that may await them. Sometimes I see a mismatch, that what a student is capable of is not what they’ve decided to do. Or I see a student who indulging some negative feedback loops in terms of clarity of thought, ambition and effort, for any number of reasons—poor mental health, self-pity, uncertainty, fear, anger at an institutional environment that is in fact not built for their presence or ambition. 

Sometimes I see students where I am absolutely confident that this is not the time for them to be in college, but that there will be a time. In many cases, the time to do it right will never come to pass if they don’t work through the time now. Sometimes it’s the lack of thriving now that makes an understanding of later thriving possible. I don’t know how to get that across to a student sometimes, and I’m really sure I don’t want to attempt to tell the world about it through one simple grade. Is that what a B- or a C means to people looking at a transcript? That shouldn’t mean “throw this person away”: it often means instead “put this in the wine cellar for a while and let it age, it’s going to be brilliant later on.”

I don’t think faculty anywhere should attach themselves easily to the maintenance of a past meritocratic ideology, nor assume that grades and standards once upon a time produced such a meritocracy via the maintenance of a clear signaling regime that was avidly consumed by several generations of employers and graduate institutions. If nothing else, that proposition crashes into a way of easy falsifiability by noting that political and economic leadership in the contemporary United States in 2026 is still very associated with past regimes of selective higher education and allegedly rigorous standards of achievement, despite the fact that numerous Ivy League graduates in the Republican Party have pronounced their unending disdain for the educations they rode into professional life and political power.

At the very least, the real actions and demonstrated skills of the people in power now may tell us that there is something far less directly causal about the standards and content of higher education and the professional comportment and ethics that follow from that training. I don’t see anywhere I look, in fact, a tight predictive relationship between how we have measured academic performance within a particular band of selective higher education in any era and any distribution of socioeconomic status or professional accomplishment later on. Let alone happiness, contribution to the world, love, joy, or wisdom. Whatever we do that matters, it matters in ways that are not so easily sorted and annotated. "]]></description>
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<item rdf:about="https://indyjohar.substack.com/p/the-future-of-being-human-a-critical">
    <title>The Future of Being Human: A Critical Complementary Investment Thesis</title>
    <dc:date>2026-02-16T01:57:54+00:00</dc:date>
    <link>https://indyjohar.substack.com/p/the-future-of-being-human-a-critical</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://sentiers.media/the-future-of-being-human-for-the-sake-of-mutual-interdependence-no-389/

"Indy Johar argues that as prediction and optimisation (LLMs) become infrastructure—embedded in pricing, access, ranking, and the allocation of attention—what becomes scarce isn’t computational power but something else entirely: attention that can settle without extraction, relationships that form without accounting, uncertainty that doesn’t collapse into anxiety, and the ability to become, “without being prematurely named, scored, or fixed.” With too much optimisation, legibility becomes the condition through which resources and access are allocated, so people learn to make themselves readable. The hidden cost is that this compresses what can’t be represented without being diminished. Akin to “the map is not the territory,” what isn’t measured is ignored.

This isn’t nostalgia for a pre-digital world, not the anologue trend. Johar proposes a set of categories he calls “pre-legibility zones” and “opacity commons”—public and semi-public spaces designed so that capture isn’t default and identity performance isn’t the price of entry. These are “bounded worlds” where the right to remain partially unknown is treated as a civic affordance, with what he calls “selective legibility”: opacity by default, proportional accountability, consentful revelation. The argument extends to “machine-assisted rewilding,” where technology actively creates space for irreducibility rather than increasing capture. What makes this compelling is that it’s not about retreat—it’s the naming of something important, kept and rewilded for its importance, within the existing world.

To him, the future of being human isn’t the opposite of machine intelligence but its complement—the institutions, environments, and practices that ensure prediction doesn’t become total formatting, that optimisation doesn’t flatten the conditions of meaning, that intelligence doesn’t reduce life to what can be scored.

→ In a way, it’s kind of Chatham House Rule for life. It also reminded me of Clive Thompson’s piece Rewilding your attention, shared in No.285 over five years ago! Johar’s “practical doctrine” also reminded me of “gevulot” in Hannu Rajaniemi’s Quantum Thief, which allows each person to decide what information about them will be available to others.

<blockquote>Selective legibility is the middle path between two failures: total capture, which corrodes formation and agency, and romantic opacity, which can shelter harm. The aim is not to disappear. The aim is to make life livable: to allow becoming, while being held. […]

    It can also mean an anti-optimisation layer: systems that introduce friction where extraction would otherwise be automatic; that detect when environments are becoming too capturing; that enforce norms of non-instrumental interaction; that protect the right to opacity and the right not to be continuously translated into signal. […]

    But there is another coupling available: machines that actively create space for irreducibility—systems that reduce capture rather than increase it, that preserve unpriced time, that protect attention as a right, that enable encounter without turning it into data. […]

    The invitation is to begin unfurling: to prototype the conditions that allow thicker forms of life to re-enter the everyday; to create spaces where micro-communication can return; to defend the right to opacity as a civic affordance; to design selective legibility as a livable doctrine rather than an abstract principle; to explore machine-assisted stewardship as an institutional stance rather than a moral aspiration.</blockquote>"]]]></description>
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<item rdf:about="https://psyche.co/ideas/why-we-should-embrace-nepantla-the-in-betweenness-of-life">
    <title>Why we should embrace ‘nepantla’ – the in-betweenness of life | Psyche Ideas</title>
    <dc:date>2026-02-16T00:29:15+00:00</dc:date>
    <link>https://psyche.co/ideas/why-we-should-embrace-nepantla-the-in-betweenness-of-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an age of strong political commitments, a Nahuatl word encapsulates the freedom to let go of what has become oppressive"

...

"I recall the day my mother realised that my Spanish was sounding ‘broken’. I was 12. She already knew that my English wasn’t up to par – I was useless as a family translator. But hearing me struggle with a simple polysyllabic Spanish word let her know that we had arrived at a moment of crisis. She laughed out loud and through the laughter, asked: ‘So, no English, no Spanish… y ahora qué? ¿El silencio?’ Although she asked it jokingly, the question ‘So what happens now?’ was deeply worrying. That night, I practised my English with a real sense of urgency because, in my mind, I felt that she was on to something: if I couldn’t properly speak English or Spanish – what then?

It was a terrifying feeling to realise that I was losing a grip on my Spanish while not yet having a grip on my English. I felt like I was letting everyone down: my parents, who would surely hate it if I stopped speaking Spanish, and my teachers, who understood that my future very much depended on me speaking English, and speaking it properly. I was caught in the middle of two conflicting sets of demands, and it felt like they were squeezing me to death.

I was too young, of course, to understand that this was never going to happen: I wouldn’t just fall silent (into el silencio) from an inability to speak perfect English or perfect Spanish. I would either speak English with some kind of accent, or I would speak the broken Spanish I heard white people speak at the grocery store. But I would speak. Almost four decades after my mother asked me ‘y ahora qué?’, my Spanish is still broken, and my English is still accented.

I would come to find myself in similar moments of in-betweenness throughout my life. In fact, I’ve realised that my identity as a Mexican American, as a philosopher, as a father, as a human being, is defined by in-betweenness, by being always in the middle, or in-between commitments, obligations, identities and expectations. I’ve also learned that my being-torn-between obligations, or worlds, is not a struggle unique to me. Indeed, Mexican and Latinx philosophers have a word for it: nepantla.

The term ‘nepantla’ appears in Spanish accounts of the conquest and colonisation of Mexico and was recorded for the first time by Andrés de Olmos (1485-1571) in his Arte de la lengua Mexicana (‘The Art of the Mexican Language’) from 1547. It later reappears in a popular dictionary compiled by the Franciscan Friar Alonso de Molina (1513-79) in 1571. Molina gives us a sense of the centrality of the term in the Nahuatl language. We find it in words signifying ‘the centre of the earth’ (tlalli nepantla), ‘messenger’ (nepantla quiza titlantli), ‘divide into two’ (nepantla tequi, nitla), ‘noon’ (nepantla Tonatiuh), and ‘between extremes’ (nepantlatli), to name a few.

The everyday use of the term is documented by the Dominican Friar Diego Durán’s (1537-88) History of the Indies of New Spain from 1581. Frustrated at an anonymous Indigenous man who does something contrary to colonial and Catholic expectations, Durán angrily asks him why he’s done it. Taking his time to respond, the Indigenous man calmly replies: ‘Padré, don’t stress yourself out, we are still nepantla.’ Durán is frustrated by this response and sets out to find the meaning of ‘nepantla’. It only adds to Durán’s exasperation to find out that what the Indigenous man meant in saying ‘we are still nepantla’ was that he couldn’t do as expected or instructed by the colonial/Catholic order because he was not yet what the Spanish wanted him to be. He was still in-between the old ways and the new, in the middle of conflicting sets of obligations, indeterminate as to his identity, and still on the way.

Almost 400 years later, the Mexican philosopher Emilio Uranga (1921-88) appropriated the term in his Analysis of Mexican Being (1952). He calls it the ‘central category of [a Mexican] ontology’, given the modern Mexican’s existence as in-between two opposing histories, the Spanish and the Indigenous. The Latina feminist philosopher Gloria Anzaldúa (1942-2004) also later used the term in Borderlands/La Frontera (1987) to signal a borderland existence ‘in-between’ being Mexican and being American.

To be nepantla is to be in the middle, in-between, or neutral (uncommitted). If you are nepantla, you are hard to pin down. The definition of nepantla is itself also hard to pin down, but we can try:

Nepantla is the ‘in between’ of temporalities, worlds, processes, paradigm shifts. With Anzaldúa, we can talk about being neither American nor Mexican but existing in the liminal spaces, or ‘borderlands’. Or we can talk about finding ourselves in-between temporalities, as in-between a past that is no longer available and a strange and uncertain future that seems always, and permanently, out of reach.

Nepantla is ‘always being on the way’, in transit, in the middle of a process. In a certain sense, this describes all human beings. Our very existence can be seen as a transit between life and death. We don’t really know where we come from or where we are going, and so we exist in a permanent state of in-betweenness.

And nepantla is neutrality, a letting-go, or a standing on the margins, observing the unfolding of the world, history and life without making a firm commitment. This could be due to a choice we’ve made regarding demands upon us or to the fact that, somehow, our power has been stripped from us, making us spectators or non-participants. Yet, in affirming our neutrality, we regain power over circumstances that may demand our attention or action – we say ‘yes’ and ‘no’ because we are ‘still nepantla’.

A seductive aspect about the term is that, as Uranga says, ‘it does not borrow from the Western tradition.’ In fact, nepantla defies the Western tradition by insisting on transition, movement and suspension as ontological and existential realities, as opposed to certainty, stability and substance. This is strategically important, especially if we seek to confront colonial prejudices and conceptualisations. In this way, colonial and imperialistic degradations of Mexicans or Latinx peoples rooted in racist notions of purity and integrity are met with a concept that insists on contingency, indeterminateness and mestizaje (racial mixing) as the defining characteristics of human life.

In other words, the introduction of nepantla as a philosophical concept represents a moment of separation between Mexican philosophy and the Western tradition that up to a certain point the former sought to imitate. With this concept, it forgoes imitation in favour of originality; its introduction, furthermore, represents the intervention, interruption and imposition of a genuinely ‘American’ philosophical category on the Western tradition, a category that emerges from the precolonial Indigenous experience yet is applicable to other experiences. Uranga writes: ‘We thus have before us, in all its purity, the central category of our ontology, autochthonous, one that does not borrow from the Western tradition, satisfying our desire to be originalists.’

Being in nepantla can be terrifying. It is terrifying because, as nepantla, you find yourself as if uprooted from a previous way of life and placed in a liminal, ungrounded state of waiting for what’s to come. I felt this when I realised that I was losing part of my identity as a Spanish speaker and that my future as another kind of speaker was uncertain.

But what I then read as terror also pointed to nepantla as a kind of freedom. Nepantla also refers to ‘neutrality’. By ‘neutrality’ we mean that in nepantla you are morally, politically or socially uncommitted, unbounded by an obligation or an allegiance to authority figures, places or things, like the Indigenous man in Durán’s story. You will experience an uncanny sense of freedom. As a first-gen college student, I soon realised that I was free to pursue my future in multiple directions.

If for no other reason, it is beneficial to affirm your nepantla, to declare yourself in a permanent state of transition (from the past to the future, birth and death, innocence and guilt), heading to an unknown ‘yet’, suspended in the middle of a paradigm shift, the final phase of which is beyond your comprehension.

Our nepantla can express itself in unexpected ways. We are neither liberal nor conservative, but something in-between; we are neither rich nor poor, but something in the middle; we are neither for nor against the newest political position, but neutral. And these middle-grounds can be oppressive if we really don’t know where to go, or they can be liberating if we recognise our in-betweenness or neutrality as an opportunity to act without being bound to expectations or pre-set obligations.

This last point suggests that it is one thing to be nepantla and another to affirm oneself as nepantla or in nepantla. Ultimately, affirmation is key. In a time when social pressures demand strong political commitments, our in-betweenness becomes a space of freedom, choice, and personal growth where we can choose to commit ourselves to projects or ideas that matter to us despite outside pressures or expectations. But, because we are still nepantla, and we recognise ourselves as such, we are free to abandon those projects or ideas if they become oppressive or harmful, to change our minds, and to grow in unexpected directions. Nepantla is freedom."]]></description>
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    <title>The Mythology Of Conscious AI</title>
    <dc:date>2026-01-14T21:23:01+00:00</dc:date>
    <link>https://www.noemamag.com/the-mythology-of-conscious-ai/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why consciousness is more likely a property of life than of computation and why creating conscious, or even conscious-seeming AI, is a bad idea."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=Km2bn0HvUwg">
    <title>Everything Was Already AI - YouTube</title>
    <dc:date>2026-01-09T19:34:30+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Km2bn0HvUwg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Feedback welcome, hope you enjoy this video which was a lot of fun to make (albeit late)

References (in rough order of appearance)

How to Make Realistic Predictions About AI, Tantham
https://curveshift.net/p/how-to-make-realistic-predictions

Silicon Valley Insider EXPOSES Cult-Like AI Companies | Aaron Bastani Meets Karen Hao 
https://www.youtube.com/watch?v=8enXRDlWguU

‘Large AI models are cultural and social technologies’, Farrell et al.
https://www.science.org/doi/10.1126/science.adt9819

Artificial Intelligences, Herbert Simon

Debunking Economics, Keen 
https://en.wikipedia.org/wiki/Debunking_Economics

Scientists Just Discovered Why All Pop Music Sounds Exactly the Same
https://www.mic.com/articles/107896/scientists-finally-prove-why-pop-music-all-sounds-the-same

The Dorito Effect, Shatzker
https://www.simonandschuster.com/books/The-Dorito-Effect/Mark-Schatzker/9781476724232

How Corporations Hijacked Anti-AI Backlash 
https://www.youtube.com/watch?v=lRq0pESKJgg

The Stock Market is a Conventional Wisdom Processor: Why Trump’s Tariffs Crashed the Stock Market While the Trump Musk Payments Crisis Hasn’t (Yet), Tankus
https://www.crisesnotes.com/content/files/2025/04/The-Stock-Market-is-a-Conventional-Wisdom-Processor-Why-Trump-s-Tariffs-Crashed-the-Stock-Market-While-the-Trump-Musk-Payments-Crisis-Hasn-t--Yet-.pdf

Elon Musk’s Billionaire Games - Between the Scenes | The Daily Show 
https://www.youtube.com/watch?v=Gqlbn2nPO-A

The Job Market Is Hell: Young people are using ChatGPT to write their applications; HR is using AI to read them; no one is getting hired. By Annie Lowrey
https://www.theatlantic.com/ideas/archive/2025/09/job-market-hell/684133/

What's Wrong with Capitalism (Part 1) | ContraPoints 
https://www.youtube.com/watch?v=gJW4-cOZt8A

Disney is Perfectly Happy With Their Catastrophic Downfall
https://www.youtube.com/watch?v=GW2Zr8Q6Xqw  

Mr. Plinkett's What Happened To Star Wars?
https://www.youtube.com/watch?v=0xeMak4RqJA

AI Slop Is Destroying The Internet
https://www.youtube.com/watch?v=_zfN9wnPvU0

Artificial Intelligence and the Digital Economy - with Dr Stuart Mills
https://www.youtube.com/watch?v=9E6p3J9dko8

An Existing, Ecologically-Successful Genus Of Collectively Intelligent Artificial Creatures, Kuipers
https://arxiv.org/abs/1204.4116
https://web.eecs.umich.edu/~kuipers/papers/Kuipers-ci-12.pdf

AI Integration Is the New Moat, Tim O’Reilly
https://www.oreilly.com/radar/integration-is-the-new-moat/

Dirty Little Marketing Secrets That Always Work - Rory Sutherland (4K)
https://www.youtube.com/watch?v=qvpw4_O25eU

The Time for Cybernetics Has Come - with Daniel Davies
https://www.youtube.com/watch?v=y3HpdNGvJDc

notes on the industrialisation of decision making, Davies
https://backofmind.substack.com/p/notes-on-the-industrialisation-of

the only message the channel can carry is a scream, Davies
https://backofmind.substack.com/p/the-only-message-the-channel-can

The AI Circular Economy, Blakeley
https://graceblakeley.substack.com/p/the-ai-circular-economy

The Case Against Generative AI, Zitron
https://www.wheresyoured.at/the-case-against-generative-ai/

The Map is Eating the Territory: The Political Economy of AI, Farrell
https://www.programmablemutter.com/p/the-political-economy-of-ai

the ending of every 7 hour video essay
https://www.youtube.com/watch?v=d8reiauyQCM 

Further reading

AI: What Could Go Wrong? with Geoffrey Hinton - The Weekly Show with Jon Stewart | Podcast on Spotify
https://open.spotify.com/episode/4pWuwQq8M8Gzf9F9U0AYZW

Transformers, the tech behind LLMs | Deep Learning Chapter 5 
https://www.youtube.com/watch?v=wjZofJX0v4M

You're Being Lied To About Private Equity | Truth Complex 
https://www.youtube.com/watch?v=6pzLhWCxH_g 

AI As a Normal Technology, Arvind Narayanan & Sayash Kapoor
https://knightcolumbia.org/content/ai-as-normal-technology "]]></description>
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    <title>The Persistence of Decay - YouTube</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["A funeral for a lighthouse, a sermon in fungus, our vanishing digital media, and the arrow of time.

READING MATERIALS REFERENCED
Curated Decay: Heritage Beyond Saving by Caitlin DeSilvey
Islands of Abandonment: Life in the Post-Human Landscape by Cal Flyn
The Theory and Craft of Digital Preservation by Trever Owens
Annihilation by Jeff VanderMeer"]]></description>
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    <title>Fauxstalgia: When the Internet Misses a Past That Never Existed</title>
    <dc:date>2025-12-31T07:06:41+00:00</dc:date>
    <link>https://www.lifeblogs.org/entertainment/fauxstalgia-when-the-internet-misses-a-past-that-never-existed.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the age of infinite scroll, nostalgia has become a marketing tool, a mood, and a meme. But the nostalgia flooding our feeds today isn’t about the past — it’s about the idea of it. This phenomenon, often called fauxstalgia, describes a longing for a time we never truly experienced. It’s the yearning for ‘simpler’ eras conjured through TikTok filters, vaporwave aesthetics, and AI-generated memories of 1980s summers we never had.

Fauxstalgia thrives in an internet culture obsessed with reboots, retro filters, and analog vibes. It’s comfort content — emotional escapism packaged as vintage fantasy. But beneath the sepia tones lies a fascinating question: why do we long for the unreal? And what does it mean when the internet manufactures collective memories?

This post explores how fauxstalgia works, who profits from it, and how we can engage with nostalgia consciously — not as a digital dream, but as a mirror for the anxieties of the present.

***

The Rise of Fauxstalgia in Digital Culture

The Internet’s Love Affair with the Past

From 8-bit graphics to lo-fi beats, digital spaces are saturated with simulated nostalgia. Social platforms, particularly TikTok, YouTube, and Instagram, recycle retro aesthetics — VHS filters, film grain, vintage fonts — to evoke emotions of innocence and comfort. These aesthetics aren’t authentic representations of the past; they’re aestheticized versions of it, stripped of complexity and hardship. The “good old days” are reconstructed for emotional impact, not historical accuracy.

Nostalgia Without Memory

Unlike traditional nostalgia, which comes from personal experience, fauxstalgia is borrowed emotion. A Gen Z user might romanticize the 1990s — floppy disks, MTV, mall culture — despite never having lived through it. This secondhand nostalgia is shaped by digital fragments: curated playlists, pixel art, and AI-enhanced footage that makes the past look better than it ever was. It’s a simulation of memory, a synthetic longing that feels real precisely because it’s shared collectively online.

Why We Crave the Simulated Past

Fauxstalgia offers emotional safety in uncertain times. As technology accelerates and the future feels unstable, the past becomes a psychological refuge. Online, nostalgia functions as an escape hatch — a pause button in an overwhelming digital world. But when that nostalgia is artificial, it reveals not our love for history, but our discomfort with the present.

***

Aesthetic Time Travel: The Digital Reconstruction of Memory

The Role of Aesthetics in Manufactured Memory

Every filter, soundtrack, and visual edit contributes to a sensory illusion of the past. Apps like Instagram and VSCO transform reality into a retro dreamscape, making even a 2025 selfie look like a Polaroid from 1979. These images aren’t about authenticity — they’re about emotional tone. The past becomes a brand aesthetic, a texture applied to modern life to make it feel meaningful.

The Rise of “Core” Culture

Online trends like “Y2K core,” “cottagecore,” and “90s core” illustrate how nostalgia has evolved into a taxonomy of moods. Each aesthetic reconstructs a version of the past designed for comfort: a stylized fantasy free of historical messiness. The 90s are remembered not for their inequality or turmoil, but for chunky sneakers and bright windbreakers. These selective memories flatten complexity into aesthetic pleasure, where emotion matters more than truth.

The Algorithmic Memory Machine

Algorithms play a crucial role in sustaining fauxstalgia. They learn which content evokes engagement — a pixelated filter, an old TV ad remix — and amplify it endlessly. The more users respond emotionally, the more nostalgia content gets pushed. In effect, platforms automate the past, creating an endless loop where yesterday is always trending.

***

The Commerce of Comfort: How Brands Sell Fauxstalgia



Marketing Through Memory

Brands have long understood the power of nostalgia, but the digital era has refined it into an art form. From Netflix’s retro series like Stranger Things to Pepsi’s 90s-style logos, companies resurrect cultural touchstones to trigger emotional loyalty. Fauxstalgia allows brands to connect emotionally even with audiences too young to remember the original eras they reference. It’s not about memory — it’s about mood.

The Resale of the Past

Products once considered obsolete — vinyl records, film cameras, typewriters — are being rebranded as lifestyle artifacts. The past is no longer gone; it’s re-merchandised. Online thrift platforms and retro subscription boxes sell experiences of authenticity in a world dominated by digital copies. This commodification of the past gives nostalgia a price tag, turning emotional connection into consumption.

The Ethics of Manufactured Memory

While fauxstalgia can feel harmless, it raises questions about authenticity and manipulation. When brands engineer longing for a past that never existed, they also shape how we interpret history. A glossy, corporate version of the 80s or 90s hides economic and social realities. By selling us curated comfort, companies risk erasing the complexity of real memory — and our ability to learn from it.

***

The Psychology of Fauxstalgia: Longing for an Unlived Life

Emotional Displacement and Digital Escapism

Fauxstalgia reflects a deeper psychological tension: the desire to escape modern disconnection. The internet offers boundless connection but limited intimacy. The idealized past, whether it’s a synthwave sunset or an imagined 2000s summer, becomes a symbol of simplicity. It’s not the past we miss — it’s the feeling of belonging and presence that modern digital life often lacks.

Collective Yearning in the Age of Uncertainty

Sociologists suggest that nostalgia spikes during cultural instability. Economic precarity, environmental anxiety, and information overload drive people toward emotional retreat. The collective longing for the “before times” — even invented ones — offers a sense of shared mourning. Fauxstalgia becomes both a symptom and a salve for collective unease, a digital campfire where users gather to remember what never was.

Memory, Authenticity, and Emotional Simulation

Fauxstalgia tricks the brain. Research shows that emotionally charged imagery can create false memories — we believe we’ve experienced things we’ve only seen or imagined. Online, constant exposure to curated “vintage” content reinforces these sensations, blurring the line between history and fantasy. The internet doesn’t just preserve memories; it fabricates them.

***

When Nostalgia Becomes a Loop: The Future That Keeps Looking Back

The Death of Newness

Fauxstalgia has created a culture of recycling rather than innovation. Music samples old tracks, fashion rehashes old silhouettes, and films reboot existing franchises. The obsession with the past has made cultural originality rare. We’re stuck in a feedback loop of remix culture — consuming the familiar endlessly while craving novelty we no longer trust.

The Emotional Cost of Endless Remakes

Living in constant nostalgia can dull our ability to experience the present. When every image and sound references something older, we risk emotional stagnation. Fauxstalgia offers comfort, but also a kind of cultural paralysis — a refusal to imagine new futures. The past becomes not a lesson, but a lullaby that keeps us from waking up.

Reimagining the Future Through Real Memory

Breaking free from fauxstalgia doesn’t mean rejecting nostalgia altogether. Authentic nostalgia — grounded in personal memory and reflection — can inspire creativity and healing. The key is awareness: recognizing when nostalgia is being sold back to us and choosing to engage with it critically. To move forward, we must reclaim memory as a tool for meaning, not marketing."]]></description>
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    <title>Mel Chin - YouTube</title>
    <dc:date>2025-12-25T03:22:43+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=vMqayj6EvB0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this video, Mel Chin presents his work in a public lecture, followed by a conversation with Tei Carpenter and question-and-answer session with the audience.

Speaker

Mel Chin is a conceptual artist known for a broad range of approaches to artmaking, including public initiatives realized through multidisciplinary, collaborative teamwork and works which enlist science as an aesthetic component to elaborate complex ideas. Throughout his career, Chin has developed a diverse portfolio of projects that employ artistic methods to not only address but intervene in urgent social, political, cultural, and environmental landscapes.

Since the 1980’s, Chin’s work has been exhibited in arts institutions around the world and installed across the United States through site-specific projects, from the ongoing Revival Field, a pioneering application of green remediation practices initiated in 1990, to Unmoored, a 2018 mixed reality experience located in Times Square that envisions a submerged future. Chin was one of the artists featured in the first season of the PBS Series Art of the 21st Century, focused on the theme of “consumption.” His 40-year survey exhibition at the Queens Museum, All Over the Place, was named the best art exhibition of 2018 by Hyperallergic. 

Chin is the recipient of numerous awards and grants, including the MacArthur Fellowship in 2019, his election to the American Academy of Arts and Letters in 2021, and the Hiroshima Art Prize in 2024. His work is included in the collections of the Los Angeles County Museum of Art, The Menil Collection, and the Whitney Museum of American Art, among others. 

Moderator

Tei Carpenter is the founding director of Agency—Agency, a New York City based architectural design practice specializing in cultural and public projects. In parallel to design work, Carpenter is an assistant professor at the Princeton University School of Architecture and creates and leads participatory design and advocacy engagements, with past partners including the Ali Forney Center and the Museum of Modern Art (MoMA). Her project New Public Hydrant, with Chris Woebken, is held in MoMA’s permanent collection.

Excerpts from Melrose Place © Paramount Global (CBS)"]]></description>
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<item rdf:about="https://matthewbattles.substack.com/p/for-want-of-a-story">
    <title>For want of a story - by Matthew Battles</title>
    <dc:date>2025-12-24T06:40:59+00:00</dc:date>
    <link>https://matthewbattles.substack.com/p/for-want-of-a-story</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the violence of our moment, can the pattern of trust hold?"

...

"As the recent semester drew to a close, I found myself wondering, what is the pattern of the college class? What is its compact, its qualities; what world does it come from or constitute? My friend S. and I have been discussing “pattern languages,” the concept of which comes from the work of architect Christopher Alexander, who developed this understanding of the “timeless way of building” with collaborators Sara Ishikawa, Murray Silverstein, and others at Berkeley’s Center for Environmental Structure in the 1970s. Interestingly, there isn’t a “classroom” pattern per se in their 1977 book, A Pattern Language, though such education-related patterns as NETWORK OF LEARNING and SHOPFRONT SCHOOLS are proposed there. Though they feel as though they preexist, that they are not invented but discovered, patterns are less archetypes than aspirations. Open, porous, and radically accessible, so many of them seem to assume relations of trust as a deep resource.

But what of the class itself—that “social institution – workgroup” (patterns 80–86) in which we find ourselves, twelve or twenty or ninety or two hundred students and an instructor, thrown together into this space of expectation, this envelope of institutional mandate, normative hierarchy, and hope for the future, which is the university? Increasingly, I’m aware how little of what happens here, how little of what it means or will come to mean, is determined by that envelope: by the role of higher education in society, say, or the importance of accrued expertise, or the promise of potential.

The writer Paul Elie defines pilgrimage as “a journey taken in light of a story.” To call a class a journey feels shopworn; to call it a pilgrimage, however enlivens it, I think. As pilgrims, we thirteen or thirty-three or ninety-nine go forth in search of the story we will share. Success in the classroom, I’m coming to understand, isn’t a “journey” with the institution as the ship, but is bound up with the discovery of our shared story. Though the story exists before we coax it into presence, this crucially is a beginning and not an end.

The idea of a shared story has fallen on hard times, however. Scandalized by master narratives, we have sought after a seeming lightness in jettisoning the weight of story, falling back on that normative envelope—the “we believe in” of class, college, science, truth; of institution, and order, and rubric. Under the sign of the journey, the class becomes less a pilgrimage than the concourse of some shadowy station, all of us bustling toward our private trains, our own special destinations—a grade, a degree, a job, a like, an evaluation.

The story is patient, however; it waits at the edges of those shadows; it asks only for trust in its discovery. Trust is the pilgrim’s path: trust that sustenance will be offered along the way; trust that one’s fellow pilgrims will teach us and fortify us; trust that we have a guide who recognize the pattern of the way well enough to know its marks even in a changed land. Often the teacher will be this guide, though sometimes someone else from the fellowship will stand and say, just here, I know the way. Their ferocity, their fiat, depends on the trust, however. We all depend on it.

In class, this constellation of trust, this shelter, is the pattern we follow, the habit in which we attire ourselves. The coming-together is ephemeral, and yet it’s the nature of the pattern, and of the stories in light of which we venture forth, to linger long after our fellowship comes to its formal end.

The pattern of the class—the coming together, the rustle of papers, the settle and the setting forth—nurtures this trust, frames it and enfolds it. The pattern is no guarantee, though it will hold the trust with so much more intimacy and strength than any institutional envelope. For we must give ourselves to trust. It is in the nature of the gift.

The story we seek was here before the blossoming of the trust. But if the story is to be found or coaxed forth, this flowering happens before the story may be found. We might have glimpses of the story, the way a pilgrim’s shadow pinioned in the mist will feel like a fellow traveler; the way a deer will browse slowly ahead on the path, attentive even in its disinterest, in its being before and beyond us. Long before the story is caught or drawn close, however, the trust must bloom. And the one who would be silent finds strength of voice; and the one who would speak first finds the silence and helps to hold it open.

When trust trembles on a knife’s edge and the story keeps its distance, there is a dusky chill of enormity in the air. As pilgrims, we ply the edge of that uncertainty, the abyss of it. And sometimes, as we have been told, the abyss looks back; sometimes, the abyss finds its own dark ferocity. In this transit, so much depends on the silent one; the silent one carries such a weight. And we begin to wonder—will the silent one break? Is it in the nature of this silent one to break?

For my class and me this term, the pattern held; the speaker and the silent one came together to carry and to compensate, and the story stole forth and fed from our hands. And yet we were reminded how fragile, how vulnerable, the pattern remains. In the advent of this vulnerability, I felt keenly how the trust has been failed again and again in our time. And I felt the pressure of that failure take the form of fear.

S. reminds me how little we rely in patterns, now, with the modern injunction to make it new giving rise to the existential injunction to find one’s own story. We’re all stumbling through the dusky station, it’s near to midnight, and the last trains are leaving without us. And yet I think it in the nature of the pattern to do its work even in the ruins; that out of the pattern’s matrix, the primordium of the story may open and unfurl and offer itself as gift. We must accept the gift, however, if the pattern is to hold, if its language is to persist. And in trust, S. suggests, in its conjugation of courage and humility, we may find a doorway open to virtue as well.

So the gift is received in trust, a trust that is no mere given, no contrivance of doors and keycards, of who gets in and who is kept out. It’s something we make and hold together. I don’t think that even violence can destroy the pattern. But it makes living into the trust of it ever harder. For the story again and again is uprooted and cast aside. And it is there that violence grows, not in the broken envelope, but in the disturbed soil where the story once grew."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oXmDje3HfHI">
    <title>T12x38 - Catolicismo pop: por qué volvemos a hablar de Dios (CARNE CRUDA) - YouTube</title>
    <dc:date>2025-11-16T23:20:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oXmDje3HfHI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Más allá de Rosalía, existe un revival cristiano entre algunos jóvenes con movimientos que convierten el catolicismo en moda pop, como Hakuna o Siloé, influencers pijas o la promoción de retiros espirituales Effetá. Moda pasajera o vocación duradera, fenómeno mediático o tendencia real, ética o estética... En este programa nos preguntamos "¿Por qué volvemos a hablar de Dios?" con Rafael Ruiz y Joseba García, sociólogos expertos en religión; hablamos de LUX y mística religiosa con Frankie Pizá, y debatimos junto a Ángela Rodríguez PAM y Estela Ortiz sobre el boom del género monjil, sus vínculos con movimientos reaccionarios como el de las tradwives y sus repercusiones, especialmente para las mujeres. Nos despedimos con una nueva entrega del humor de nuestra gran Antía Lousada.

Puedes ver la segunda parte de este programa, la sección de Antía Lousada aquí: https://www.youtube.com/watch?v=Yatx73b7a84

Más información aquí: https://www.eldiario.es/carnecruda/programas/catolicismo-pop-volvemos-hablar-dios_132_12756315.html 

"La sociedad española es cada vez más secular: el número de católicos ha caído del 90% en los años setenta a apenas un 55% hoy, y entre los jóvenes la cifra es aún más baja. Sin embargo, algo está ocurriendo en los últimos años: entre 2023 y 2025 la catolicidad confesa entre menores de 35 años ha pasado del 34% al 41%. No es un fenómeno exclusivo de España: en Francia, por ejemplo, los bautizos de adultos y adolescentes se han duplicado en solo 2 años, y en Reino Unido, los jóvenes de 18 a 24 años que dicen asistir a misa han pasado del 4% en 2018 al 16%.

El sentimiento religioso tiene un revival en Occidente y se manifiesta en todas partes: de la catarsis mística de Rosalía a Hakuna, movimiento de masas que arrastra a decenas de miles de jóvenes católicos en todo el mundo desde Hakuna a Efetá. ¿Se trata de una moda pasajera o tiene vocación duradera? ¿Es solo fenómeno mediático o una tendencia real? Exploramos este revival religioso con los investigadores Rafael Ruiz y Joseba García, sociólogos expertos en religión.""]]></description>
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<item rdf:about="https://farsight.cifs.dk/the-future-is-mundane/">
    <title>The Future is Mundane - Farsight</title>
    <dc:date>2025-11-10T10:53:55+00:00</dc:date>
    <link>https://farsight.cifs.dk/the-future-is-mundane/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Renowned anthropologist Sarah Pink explains why the sensory and embodied experiences of everyday life should take a more prominent role in imagining possible scenarios."

...

"It was really a configuration of a few different things that came together over time. From around 2005, I did research on the Slow City movement [an international movement promoting peaceful, high-quality way of life, and ‘slow’ cities, ed.]. It made me interested in how the towns that joined the movement would be writing or performing themselves into a possible future.

Around 2010, I started to work on another project in collaboration with designers. Design is another future-oriented discipline, and the collaboration led me to become interested in concepts like uncertainty and possibility in relation to the future.

I became especially interested in the question of how to harness uncertainty to invite people to think about, perform, understand, and to sense possibility in new ways. When approached in this way, uncertainty shifts from being something to be mitigated, as we often see in relation to governments and organisations, to becoming a way to investigate possibility and futures in a more speculative way.

Through these projects, questions started to arise around how to design for people who may live in these possible futures. That line of questions continued in my later work looking at possible futures of self-driving cars, possible city futures, and possible mobility futures, bridging new technology with design, anthropology and the social science disciplines.

A new phase of my work in futures has emerged through the Digital Energy Futures project, which explores how everyday life – shaped by digital and emerging technologies – might transform future energy demand. I aim to continue developing new models of foresight that are attuned to the complexities of everyday life – and that foreground the social, cultural, sensory, and material realities that shape our energy futures."

...

"For me, it is a continual process of methodological experimentation. Currently, and based in my experience with visual ethnography for generating tacit and embodied knowledge, I’ve been redeveloping the video tour and video reenactment methods which I started out with around twenty-five years ago. The tours and reenactments focused on engaging with people’s actual everyday lives to seek to understand what is important to them, how they live, and what their routines are like.

Now I’m in the exciting process of translating those methods for futures research. I have developed what I am calling the pre-tour and the pre-enactment, where we ask people to take us on a tour of their home and enact their possible future routines in 2050.

We set up the experiment with some pre-defined parameters. These could include projections for how many days will be above 40 degrees Celsius in 2050, or what we think the air quality might be like. We then ask the participants to imagine those and other elements of future life in their homes as prompts.

A lot of things become super interesting in that context. How might people use windows differently? If you have a 40-degree window, might you use that to dry your laundry indoors? How might they reorganise their space or use the rooms of their home differently? Will underground garages become cool rooms? Would patios or gardens be covered over? We are experimenting with applying this method to understand possible future life in homes as well as in city neighbourhoods, with some super-interesting outcomes.

I believe that through methods innovations like these we can arrive at a more sensory and embodied way of anticipating possible futures. The point is not simply to ask what we think we’ll do in those futures – but also to ask what we want it to feel like, emotionally and sensorially, to live in our homes, to walk up the road in our city or neighbourhood, or to go to work.

And so why is that important? I if we can develop new methods to answer those questions, then we can create a whole new layer of knowledge about what futures people truly desire, be it in 2030 or 2050, and use that as a starting point for understanding how we might better plan ahead."

...

"Our research investigates how people will participate in shaping these transitions. There is a knowledge gap there, with regards to how people will live in possible futures and how everyday life will shape and influence the anticipated digital and net zero transitions.

We know very well that when new technologies and plans for net zero and sustainability transitions do land in everyday life, they won’t just shape society singlehandedly. The dominant narrative around technology tends to claim that it drives and shapes the future – but we know from many years of anthropological research that reality is more nuanced. When a technology emerges and comes into people’s lives, it’s very often reshaped by those who use it. And people use technologies – and any other product, of course – in ways that fit their own lives, ambitions, hopes, and aspirations."]]></description>
<dc:subject>sarahpink anthropology everyday slow 2025 tamirasnell senses sensory multisensory futurism climatechange climate globalwarming ethnography ai artificialintelligence robotics humanism slowcity slowcities design uncertainty possibility speculation speculative socialscience cities mobility energy foresight creativity trust care caring anxiety futures future embodiment bodies sustainability reality technology society diversity human humans</dc:subject>
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    <title>Why AI’s hallucinations are like the illusions of narcissism | Psyche Ideas</title>
    <dc:date>2025-11-05T18:34:54+00:00</dc:date>
    <link>https://psyche.co/ideas/why-ais-hallucinations-are-like-the-illusions-of-narcissism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Unable to handle uncertainty, AI mimics the narcissistic compulsion to fill voids with plausible but false narratives"]]></description>
<dc:subject>ai artificialintelligence jenninegates 2025 uncertainty narcissism aihallucinations llms</dc:subject>
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<item rdf:about="https://www.theredhandfiles.com/where-do-youstand/">
    <title>Nick Cave - The Red Hand Files - Issue #337- I’ve had several disagreements with friends about where you stand on things. Where do you…stand? : The Red Hand Files</title>
    <dc:date>2025-10-01T16:28:47+00:00</dc:date>
    <link>https://www.theredhandfiles.com/where-do-youstand/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Go straight to my note below. Fuck, Nick Cave. This is complete weasel talk coming from him given his actions.]

"I’m not entirely sure where I stand on anything these days. As the ground shifts and slides beneath us, and the world hardens around its particular views, I become increasingly uncertain and less self-assured. I am neither on the left nor on the right, finding both sides, as they mainly present themselves, indefensible and unrecognisable. I am essentially a liberal-leaning, spiritual conservative with a small ‘c’, which, to me, isn’t a political stance, rather it is a matter of temperament. I have a devotional nature, and I see the world as broken but beautiful, believing that it is our urgent and moral duty to repair it where we can and not to cause further harm, or worse, wilfully usher in its destruction. I think we consist of more than mere atoms crashing into each other, and that we are, instead, beings of vast potential, placed on this earth for a reason – to magnify, as best we can, that which is beautiful and true.  I believe we have an obligation to assist those who are genuinely marginalised, oppressed, or sorrowful in a way that is helpful and constructive and not to exploit their suffering for our own professional advancement or personal survival. I have an acute and well-earned understanding of the nature of loss and know in my bones how easy it is for something to break, and how difficult it is to put it back together. Therefore, I am cautious with the world and try to treat all its inhabitants with care.

I am comfortable with doubt and am constitutionally resistant to moral certainty, herd mentality and dogma. I am disturbed on a fundamental level by the self-serving, toddler politics of some of my counterparts – I do not believe that silence is violence, complicity, or a lack of courage, but rather that silence is often the preferred option when one does not know what they are talking about, or is doubtful, or conflicted – which, for me, is most of the time. I am mainly at ease with not knowing and find this a spiritually and creatively dynamic position. I believe that there are times when it is almost a sacred duty to shut the fuck up."

[NOTE: I agree with this post, but for one line* given the timing. Silence after two years is more willful ignorance than not knowing. There is nothing to be conflicted about when it comes to genocide. That line at this time seems like a cop-out. UPDATE: Also, fuck Nick Cave who has performed in Israel during the genocide and has also proclaimed his "abiding love" for Israel since too. https://www.jpost.com/international/article-817074 + https://www.aljazeera.com/opinions/2024/3/16/play-in-israel-just-dont-pretend-you-didnt-know And he's been doing this shit for years. https://www.tabletmag.com/sections/news/articles/nick-cave-to-roger-waters-youre-the-reason-im-playing-israel + https://www.theguardian.com/music/2018/dec/11/nick-cave-cultural-boycott-israel-brian-eno Yeah, fuck that genocide apologist who is masquerading as some sort of enlightened Jesus follower.

What an asshole. https://mondoweiss.net/2017/11/music-lesson-palestine/] 

* "I do not believe that silence is violence, complicity, or a lack of courage, but rather that silence is often the preferred option when one does not know what they are talking about, or is doubtful, or conflicted"

via:
https://social.ayjay.org/2025/10/01/my-buddy-austin-kleon-texted.html ]]]></description>
<dc:subject>nickcave care caring politics unknowing notknowing conservatism temperament morality beauty life living oppression marginalization careerism survival stance doubt certainty uncertainty hivemind herdmentality dogma violence complicity courage spirituality</dc:subject>
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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>
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<item rdf:about="https://www.youtube.com/watch?v=AF7s16ATbJc">
    <title>Writer Èdouard Louis: Who Gets to Escape? - YouTube</title>
    <dc:date>2025-09-02T18:16:08+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=AF7s16ATbJc</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["“The will of escaping is such a universal condition.” French writer Èdouard Louis shares how his brother's death turned into his latest novel, how class shapes possibilities and the importance of understanding what you hate.

Èdouard Louis’ brother is 38 when he dies. Louis describes his sibling as an alcoholic, and someone he hadn’t seen in 10 years: “I didn’t want to see him anymore. I didn’t want to talk to him. He was a very violent person,” Louis says frankly. “He was an unbearable person, someone you could not love. And I didn’t love him.” When their mother called Louis to tell him that his brother had passed, he turned to writing, because he thought he knew exactly why he died: “I thought my brother was the extreme realization of social determinism, of someone who was born in the working class, in poverty,” he says and continues: “This social determinism had such an extreme impact on him that it killed him at 38.” The book took many years to write, because through the process, Louis realised that everything he thought he knew was not exactly true.

His brother had dreams, like opening a butcher shop—a dream that Louis calls “real.” But even a “real” dream was not attainable for someone like his brother: “His dreams were too big for his milieu. His dreams were too big for his class.” Though growing up in the same class, the same town, the same family, Édouard Louis dreams of the big city, of culture and a new way of life all came true: “I was this young gay boy thinking: I am different and I want to escape, but the other ones don’t want to escape.” Louis had long seen himself as “different and superior because I wanted to escape. And that my brother was inferior because he was happy with his reality.” 

“Everyone wanted to escape. But the thing is, not everyone had the same access to the tools of escaping,” Èdouard Louis says: “My brother was trying to escape with alcohol and with violence.” Louis continues to reflect on escaping, which essentially is what the book ‘Collapse’ is about: “It’s a question of unequal access to the, if not the means of production, then the means of expressing your feelings.”

While writing the book, Èdouard Louis reached out to his brother’s ex-girlfriend, whom he was all violent towards. But the girlfriends spoke deeply about their love for his brother: “I thought: do I take it out of the book because I don’t like this idea? Or do I let the reality with all this complexity?” Louis reflects: “If I take it out, it’s like patronising. I’m giving a version that I prefer of those women. They deserve to say what they have to say. At the same time, I disagree politically with what they say. So, I wrote this book in this kind of very precarious balance.”

“It’s our duty to understand what disgusts us, what frightens us, what we hate. We’d better look at what we hate.” For Èdouard Louis, change can’t be made by looking away from what we don’t like or understand. Only by understanding violence can it be stopped: “I am a toy of violence. I am an object of violence,” he says. “I’m talking because I went through it and have no choice.”

Édouard Louis (b. 1992) was born Eddy Bellegueule in Northern France. He graduated in sociology and philosophy from the École Normale Supérieure and the École des Hautes Études et Science Sociales. and thus has an academic education as the first in his family. Louis had his debut in 2014 with the award-winning bestseller The End of Eddy Bellegueule. He has published seven novels and has also been editor of works on Pierre Bourdieu and Michel Foucault. His work has appeared in The New York Times, The Guardian, and Freeman’s. His books have been translated into thirty languages, making him one of the most celebrated writers of his generation worldwide.

Èdouard Louis was interviewed by journalist Bodil Skovgaard Nielsen on stage at Louisiana Literature at Louisiana Museum of Modern Art, August 2025."]]></description>
<dc:subject>èdouardlouis freedom escape privilege sociology violence masculinity homophobia monsters left rightwing farright conservatives understanding hannaharendt poverty misogyny howwethink thinking refelction alcoholism reality complexity politics humanism humans hate socialdeterminism society class whiteness race racism exclusion othering conservatism others frankness openness privacy directness politeness civility judgement distance conviviality values transparency bourgeois bourgeoisie pathos workingclass emotion aesthetics culture classwar emotions facts uncertainty dehumanization knowledge power autobiography autofiction literature truth</dc:subject>
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<item rdf:about="https://www.techdirt.com/2025/07/08/who-goes-maga/">
    <title>Who Goes MAGA? | Techdirt</title>
    <dc:date>2025-07-12T00:03:12+00:00</dc:date>
    <link>https://www.techdirt.com/2025/07/08/who-goes-maga/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["With apologies to Dorothy Thompson, whose 1941 essay in Harper’s, “Who Goes Nazi?” remains a worthwhile read on the cultural archetypes of who is drawn to fascism, and who would never go down such a path. It felt like it could use a modern updating, however.

It is an interesting and somewhat macabre social media game to play while scrolling through your feeds: to speculate who in your network would go full MAGA. By now, I think I know. I have gone through the experience many times—watching the 2016 election, the pandemic, January 6th, and now Trump’s return. I have come to know the types: the born MAGAs, the MAGAs whom social media criticism has created, the certain-to-be fellow-travelers. And I also know those who never, under any conceivable circumstances, would fall for the grift.

It is preposterous to think that they are divided by any obvious characteristics. Rural Americans may be more susceptible to MAGA than most people, but I doubt it. College graduates are supposedly inoculated, but it is an arbitrary assumption. I know lots of PhD holders who are born MAGAs and many others who would don the red hat tomorrow morning in response to some perceived slight. There are people who have repudiated their own principles in order to become “Honorary Patriots”; there are lifelong Democrats who have enthusiastically entered Trump’s orbit. MAGA has nothing inherently to do with geography, education, or even stated political beliefs. It appeals to a certain type of mind.

It is also, to an immense extent, the disease of a generation—the generation that grew up online, that learned to mistake engagement for truth, that confused being heard with being right. This is as true of suburban millennials as it is of rural boomers. It is the disease of the algorithmically poisoned.

Sometimes I think there are direct digital factors at work—a type of media consumption, a pattern of social validation, and a form of tribal identity that has produced a new kind of citizen with an imbalance in their nature. They have been fed rage and filled with grievances that are beyond their capacity to process rationally. They have been subjected to forms of propaganda that have released them from the constraints of empirical reality. Their emotions are vigorous. Their reasoning is childish. Their civic education has been almost completely neglected.

At any rate, let us look through the feeds."

...

"The Contrarian Intellectual"

...

"The Wellness Influencer"

...

"The Centrist Politician"

...

"The LinkedIn Though Leader"

...

"The Crypto Enthusiast"

...

"The Facebook Mom"

...

"The venture Capitalist"

...

"The Legacy Media Reporter"

...

"The Business Owner"

...

"The Normie"

...

"The Ones Who Won’t"

Take the small-town Republican from Ohio who should be MAGA by every demographic marker—pickup truck, church every Sunday, straight GOP for twenty years. But her childhood best friend came out as trans, and suddenly the culture war had a face she loved. Now she’s at city council meetings defending the very people she once thoughtlessly condemned. The MAGA crowd calls her a traitor. She calls it friendship.

There are others in the feeds who will never go MAGA, no matter what. They’re not necessarily the most educated or the most politically engaged. They’re not defined by their demographics or their stated beliefs.

They’re the ones who have something the MAGA-susceptible lack: a genuine comfort with complexity and nuance, an ability to tolerate uncertainty, and a fundamental respect for other people’s humanity. They don’t need to believe they’re special or superior. They have the same insecurities others have, but they don’t blame others for them. They don’t need enemies to blame for their problems. They don’t need simple answers to complicated questions.

They’re the teacher who posts about her students’ achievements without making it about herself. They’re the small business owner who pays his workers well because he knows it’s right and actually better for business, not because he has to. They’re the veteran who talks about service without wrapping it in nationalism. They’re the parent who worries about their kids without blaming teachers for everything.

They’re the people who can say “I don’t know” without feeling diminished. They’re the ones who can admit they were wrong without feeling attacked. They’re the ones who can see others succeed without feeling threatened.

The Pattern

The pattern is clear once you know what to look for. MAGA appeals to people who need to feel special, who need enemies to blame, who need simple answers to complex problems. It attracts those who mistake confidence for competence, who confuse being loud with being right, who think that admitting uncertainty is weakness.

It’s not about education or geography or even politics. It’s about character. It’s about whether you can tolerate complexity, whether you can admit mistakes, whether you can see other people as fully human.

The scary thing about MAGA isn’t that it’s obviously evil—it’s that it’s appealing to people who think they’re good. It offers them a way to feel righteous about their resentments, patriotic about their prejudices, and principled about their selfishness.

But the good news is that character isn’t fixed. People can change. They can learn to tolerate uncertainty, to admit mistakes, to see others as human. They can develop the emotional and intellectual tools to resist fascist appeals.

The question is whether they will—and whether the rest of us will help them, or just watch them scroll deeper into the darkness.

The game continues. The stakes keep rising. And the feeds keep feeding us exactly what we want to hear."]]></description>
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<item rdf:about="https://www.freyaindia.co.uk/p/nobody-has-a-personality-anymore">
    <title>Nobody Has A Personality Anymore - by Freya India - GIRLS</title>
    <dc:date>2025-06-28T03:39:25+00:00</dc:date>
    <link>https://www.freyaindia.co.uk/p/nobody-has-a-personality-anymore</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We are products with labels

Therapy-speak has taken over our language. It is ruining how we talk about romance and relationships, narrowing how we think about hurt and suffering, and now, we are losing the words for who we are. Nobody has a personality anymore.

In a therapeutic culture, every personality trait becomes a problem to be solved. Anything too human—every habit, every eccentricity, every feeling too strong—has to be labelled and explained. And this inevitably expands over time, encompassing more and more of us, until nobody is normal. Some say young people are making their disorders their whole personality. No; it’s worse than that. Now they are being taught that their normal personality is a disorder. According to a 2024 survey, 72% of Gen Z girls said that “mental health challenges are an important part of my identity.” Only 27% of Boomer men said the same.

This is part of a deeper instinct in modern life, I think, to explain everything. Psychologically, scientifically, evolutionarily. Everything about us is caused, categorised, and can be corrected. We talk in theories, frameworks, systems, structures, drives, motivations, mechanisms. But in exchange for explanation, we lost mystery, romance, and lately, I think, ourselves.

[TikTok embed]

We have lost the sentimental ways we used to describe people. Now you are always late to things not because you are lovably forgetful, not because you are scattered and interesting and secretly loved for never arriving on time, but because of ADHD. You are shy and stare at your feet when people talk to you not because you are your mother’s child, not because you are gentle and sweet and blush the same way she does, but autism. You are the way you are not because you have a soul but because of your symptoms and diagnoses; you are not an amalgam of your ancestors or curious constellation of traits but the clinical result of a timeline of childhood events. Every heartfelt, annoying, interesting piece of you, categorised. The fond ways your family describe you, medicalised. The pieces of us once written into wedding vows, read out in eulogies, remembered with a smile, now live on doctors’ notes and mental health assessments and BetterHelp applications. We are not people anymore. We have been products for a long time, and these are our labels.

We can’t talk about character either. There are no generous people anymore, only people-pleasers. There are no men or women who wear their hearts on their sleeves, only the anxiously attached, or the co-dependent. There are no hard workers, only the traumatised, the insecure overachievers, the neurotically ambitious. We even classify people without their consent. Now our clumsy mothers have always had undiagnosed ADHD; our quiet dads don’t realise they are autistic; our stoic grandfathers are emotionally stunted. We even helpfully diagnose the dead. And I think this is why people get so defensive of these diagnoses, so insistent that they explain everything. They are trying to hold onto themselves; every piece of their personality is contained within them.

And it’s not only personality traits we have lost. There are no experiences anymore, no phases or seasons of life, no wonders or mysteries, only clues about what could be wrong with us. Everything that happens can be explained away; nothing is exempt. We can’t accept that we love someone, madly and illogically; no, the enlightened way to think is to see through that, get down to what is really going on, find the hidden motives. Who we fall for is nothing but a trauma response. “You don’t have a crush; you have attachment issues”. Maybe he reminds you of an early caregiver who wounded you. In fact there are no feelings at all anymore; only dysregulated nervous systems. Every human experience we have is evidence, and the purpose of our lives is to piece it all perfectly together. This is the healthy way to think, that previous generations were so cruelly deprived of.

I’m not sure I believe this anymore. That we are more enlightened now than in the past, more emotionally intelligent. My grandma is a grandma, a mother, a wife; we are attachment disorders. She is selfless and takes things to heart; we have rejection sensitive dysphoria and fawn as a trauma response. They are souls; we are symptoms. Of course there were people in the past who needed real help and never received any sort of understanding, but that is not the full story; many were also happier, less self-conscious, actually able to forget themselves. I asked my grandparents who have been married for six decades why they chose each other and got a clumsy answer. They had never really thought about it. Maybe I am too nostalgic about the past, but there is something there that has been lost, that in that moment I struggled to relate to, a simpler way of living. And an arrogance to us now, seeing people in the past as incomplete and unsolved, when we are this anxious and confused.

I think this is why my generation gets stuck on things like relationships and parenthood. The commitments we stumble over, the decisions we endlessly debate, the traditions we find hard to hold onto, are often the ones we can’t easily explain. We are trying to explain the inexplicable. It’s hard to defend romantic love against staying single because it isn’t safe or controllable or particularly rational. The same with having children. Put these things in a pro-con list and they stop making logical sense. They cannot be calculated or codified. Ask older generations why they started families. Often they didn’t really think it through. And maybe that isn’t as crazy as we have been led to believe, maybe that isn’t so reckless, maybe there’s something human in that.

But of course this generation has a billion-dollar industry involved that wasn’t before. The world is also becoming more complicated; we want control and certainty. We take comfort in the causes of things. And yes there are young people helped by diagnoses, who can’t function and find relief in being understood, but fewer than we think. Many more have been convinced that the point of life is to classify and explain everything, and it’s making them miserable.

I find it strange that we think this is freeing, this brutal knowing. That this self-surveillance is the liberated way to live. That we are somehow less repressed, being boxed in by medical labels. There are young people spending the most carefree years of their lives mapping themselves out, categorising themselves for companies and advertisers. So much of their thinking is consumed by this. They don’t have memories anymore; only evidence, explanations, timelines of trauma. They don’t have relationships; only attachment figures, caregivers and co-regulators. And I think this is it, the cause of so much misery. We taught a generation that the meaning of life is not found outside in the world but inside their own heads. We underestimate it, this miserable business of understanding ourselves. I feel for the girls forensically analysing their childhoods while they are still in them, cramming their hope and pain and suffering into categories, reducing themselves down to trauma responses. It hurts to see this heartbreaking awareness we have inflicted on a generation, whose only understanding of the world is this militant searching, this reaching around for reasons. God, the life they are missing.

Because we can’t ever explain everything. At some point we have to stop analysing and seeing through things and accept the unknowable. All we can ever really achieve is faith. Some humour at ourselves, too. It’s impossible to heal from being human, and this is why the mental health industry has infinite demand. Explain anything long enough and you will find a pathology; dig deep enough and you will disappear.

We keep being told that the bravest thing now is to do the work. But I think it takes courage not to explain everything, to release control, to resist that impulse to turn inwards. And wisdom too, to accept that we will never understand ourselves through anything other than how we act, how we live, and how we treat other people. We are thinking about ourselves enough. We don’t need more awareness or answers. My worry is that after a lifetime spent trying to explain themselves, solve their strong feelings, standardise their personalities, and make sense of every experience, a generation might realise that the only problem they had, all along, was being human.

So free yourself to experience, not explain. Be brave enough to be normal. Do not offer up your feelings and decisions and memories to the intrusion of the market, to the interpretation of experts, to be filed as deviations from what the medical industry decides is healthy. Leave yourself unsolved. Who knows; it’s a mystery. Written in the stars. From somewhere unknown. Holding on to your personality is a declaration that you are human. A person, not a product. No other explanation needed."]]></description>
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    <title>Uncertainty is stressful, but here’s why we need to feel it | Psyche Ideas</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["As much as people struggle with not knowing, we live in an uncertain world – and there are advantages to embracing that"]]></description>
<dc:subject>uncertainty 2025 jessicaalquist psychology change anxiety emotions knowledge reason focus attention comfort depression mentalhealth control</dc:subject>
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    <title>Opinion | Jesus Has ‘More to Say Than Any Human Language Can Carry’: A Q&amp;A With Rowan Williams - The New York Times</title>
    <dc:date>2025-06-10T19:39:15+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["The New Atheists ‘Attack a God I Don’t Believe In, Either’: A Q&A With Rowan Williams"

...

"Rowan Williams is among the most important religious thinkers in the world. A theologian, poet, playwright and literary critic, he served as the archbishop of Canterbury from 2002 to 2012. I spoke to Dr. Williams about his journey of faith and doubt, why God allows the innocent to suffer and how to interpret the Bible (and how not to). He talked about the New Atheists and the influence on his theology of Fyodor Dostoyevsky, what makes Jesus such a compelling figure and what it means to pastor people through grief. Dr. Williams also talked about how, for him, the Christian faith is “the perspective that enriches.” Our conversation, which has been lightly edited, is the third in a series of interviews I am doing that explores the world of faith.

1. Dostoyevsky Led the Way

Peter Wehner: Let me start out by asking you to describe your journey of faith. As a young adult, what was the pull toward Christianity for you? Was it primarily intellectual or aesthetic or an appeal to the imagination or some combination of those? Did you experience what C.S. Lewis called “Sehnsucht,” an intense longing and divine spark for something that’s unattainable in this material world?

Rowan Williams: I’d grown up in a Christian environment but not a very intense one. It was really when I was a teenager that it began to speak to me, and it did so largely, to pick up your categories, at the imaginative level. It felt like a larger world to inhabit and at a time when I was discovering more and more about the literary world, about philosophical questioning, about the historical roots of our culture.

All of that seemed to me, as a student, enriching and exciting. But it was also brought alive — and here was my good fortune — through particular people who were very important to me at the time, especially my parish priest, who was a huge influence — encouraging, supportive, giving me the message all the time that there’s room for all that in the life of faith.

When I started as a university student — coming into contact with an awareness of human need and human suffering that I hadn’t quite registered before, meeting homeless people when I was a student in Cambridge, the sense that you needed to have quite a capacious picture of human nature in order to see the dignity and the need — that reinforced my feeling that the faith I’d grown into was something which actually allowed you to engage at depth with people.

Wehner: Is the draw of faith for you now essentially what it was when you were younger?

Williams: It’s probably pretty much what I grew up in, in many ways, which is not to say it’s not changed or developed. It’s certainly been battered and tested in various ways. But when I go back to what I was learning at that time, it’s still that same sense that this is the perspective that enriches. This is the perspective that enlarges.

Wehner: You’re a person of great theological depth, but I imagine, like many people of faith, you’ve struggled at various points with doubt. If so, how has that manifested itself to you?

Williams: Looking back, there have been very few times when I felt what you might call a substantive doubt of the whole thing. You know, “Is any of this true?” It’s much more, “Does any of this make sense where I am?” I’ve always resonated with the person who said, “God exists, but I don’t believe in him,” in the sense that the system’s there, the pattern’s there and it’s compelling. But how much am I actually inhabiting it? How much am I making it my own? How much is it really making sense of where I am? And there have been periods, especially of personal loss and personal awareness of struggle and uncertainty, where it’s been not so much I doubt that God exists but I don’t know whether I’m connecting with what’s there — and I don’t know how to.

Wehner: Those moments, that particular manifestation of doubt, how have you worked your way through that?

Williams: It’s a lot to do with doing the next thing. It’s a lot to do with trying to hold your position, and I don’t mean an intellectual position. I mean holding a place where you are standing firm and doing what you can do. I was very struck as a young man reading the fiction of Iris Murdoch, particularly her novel “The Bell.” At the end of that, you’re faced with a chapter about the experience of somebody who has been intensely involved in religious activity and has just had an absolutely traumatic shock to everything that he believes in and everything he holds dear.

He’s living next door to a convent, and all he can do is to go to Mass every morning. And I thought, “Yes, I see what’s going on there. He’s doing the next thing.” He’s treading water, you might say, but also he knows something can be done — not to keep the darkness at bay but to keep breathing, to keep moving, to keep open to something. I think that sense of wanting to keep open to something is probably quite near the center of what I believe about a spiritual life. You don’t pray or meditate or contemplate in order to get results, exactly.

Wehner: Sometimes doing the next thing is the best thing to do. You wrote a book on Fyodor Dostoyevsky. He’s one of the writers who have meant the most to you, and it’s understandable why. What is it about the work of Dostoyevsky, in particular, that has so impressed you in the context of faith? How has your theology been shaped by him?

Williams: I discovered Dostoyevsky as a teenager and read him fairly intensely as a student and as a graduate student. What struck me most was two things. One is he’s very good at depicting characters who are holy, who are in some sense transparent to the divine and also letting you see that they’re not going to have all the answers. They’re going to be the window that lets the light in. And I thought, “That tells me something about holiness. Don’t look for the leader, the controller, the problem solver. Look for where the light gets in.” In Leonard Cohen’s famous image, the persons who are part of the crack that lets the light in.

Throughout my life I’ve been privileged to see a number of individuals in whom I could say, “Yes, there’s the crack. They’ve let the light in.” They’ve been people of varied accomplishment or status, but the one thing in common is things look different in their light. So that was one thing I learned from Dostoyevsky.

I suppose the other thing was Dostoyevsky’s absolutely relentless commitment to making it as difficult for himself as he possibly could. He says: You want the grounds for atheism? I’ll tell you the grounds for atheism. Let me lay out to you all the good reasons for not believing in God.

Of course, in the famous chapters in “The Brothers Karamazov” where Ivan Karamazov talks about the suffering of children, that’s Dostoyevsky saying: Let me show you. You think you have reason for not believing? I can show even better reasons for not believing. And pushing through that, saying: I’m not going to pretend it’s simpler than it is. And saying at the end of that: I’m not going to pretend to give you an answer. I’m going to give you the fact that love is possible in the middle of this.

The moment of reconciliation, of love, of forgiveness, of acceptance is as real as all the nightmares that he describes. Dostoyevsky, as it were, flings down his pen and says: Well, there you are. You make your choice. The world is full of evidence against love, against reconciliation, against the possibility of a God who holds the world.

The probabilities stack up in a fairly unpromising way, and then a moment happens where the light gets in, where something in the world refuses to be crushed by that.

Nick Cave, the singer and songwriter, with whom I had a long conversation a couple of years ago, spoke about the impact on him of the tragic death of his teenage son. He said his main feeling was not that it made faith harder but that it made faith more imperative: I’m not going to be defeated.

I think there’s something of that in Dostoyevsky, when at the end of that astonishingly painful and difficult section of “The Brothers Karamazov” Alyosha kisses his brother. It’s as if Dostoyevsky is saying: Well, that is as real as any amount of suffering. Make what you will of it. I’m not going to tell you, but there it is.

Wehner: Let me stay on Dostoyevsky for a moment, because, as you said, his indictment of God was so searing in “The Brothers Karamazov” that he wasn’t even confident that he’d adequately refuted it. That raises the issue you touched on, which is theodicy, the effort to resolve the problem of evil with the existence of an all-powerful and all-benevolent God. You touched on this in your answer, but I want to home in on it a little bit more. What is Dostoevsky’s response to suffering? If I understand you right and if I’ve read Dostoyevsky correctly, the answer is not philosophical or theological. It’s primarily love. How would you respond to people who ask this ancient question: Why does a good God allow the innocent, the children, to suffer?
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Williams: The question I want to ask in reply — though, of course, I can’t ask it in quite these terms if somebody is actually in the middle of suffering — is: What would a satisfactory answer to that look like? What would our lives be like if I could say, “I’ll tell you exactly why your child died. I’ll tell you exactly why you suffered that terrible accident. I’ll tell you exactly why people are dying daily in Ukraine and Gaza and Congo. I can tell you, and it’ll all be clear, and you won’t have to worry about it any longer.”

What would that feel like? When people say they want an answer, it’s not that kind of answer they’re really looking for. I don’t know entirely what to make of that. But whenever people say, “Have you got an answer?” I say, “Do you really want that kind of answer?” Imagine the bereaved mother turns up at the parsonage door and says, “Why should my child die?” And you say, “Because of this, this and this. Satisfied? See you next week.”

No, that’s not it. And what is “it”? I don’t entirely know, except that people live with these horrors. People make personal sense of them. People are sometimes opened up by them to depths they hadn’t expected. That’s, again, as Dostoyevsky would say, it’s as much a part of the fabric of the world as anything else.

The other dimension was that he’s always nudging us to ask, “You talk about suffering. So what’s your complicity in this?”

He invites you to understand that you are part of the problem. You’re part of what tangles and embroils the world more and more in injustice and suffering. Just step up to that and say, “Yes, I’m part of this. I’m responsible. I’m answerable for the neighbor.” We’re not just talking about love in a vague and general way, but as he put it and as the great Dorothy Day liked to quote, this is a “harsh and dreadful love.” This is asking something really quite frightening of you, that you understand your solidarity in this.

Wehner: I imagine what some people might ask, what Ivan Karamazov might ask, isn’t simply, “Tell me the reason that this happened.” It might be, “Why did you allow it to happen in the first place?”

Williams: Of course. It essentially has to do with the basic question of why there is anything other than God. Because anything other than God is going to be, in some ways, unstable, in some ways flawed. If God made the perfect, God would make another God. So why does God invest in what isn’t God? And not being God, I don’t have a very clear sense of the answer to that, nor do any of us.

2. The Purpose of God’s Elusiveness

Wehner: Why would God deny tangible assurances — empirical and nearly incontestable proofs — to those whom he loves and who desperately cry out for it?

Williams: It’s not that God is deliberately making things difficult but that God is God. God is not a thing among other things. God is not an item in the world, and God is not a response to our mail order form. He doesn’t simply slot into what we think is intelligible or manageable. God is the infinite, unmanageable, unconditioned context of all that we are and we do, and so it’s not entirely surprising if we can’t boil that down into something we can manage. That’s why, of course, in Hebrew Scripture, when the people of Israel gather at Mount Sinai, the mountain is covered with cloud and fire, and God says to Moses: Keep your distance. I’m sorry. This is how I am. You’re not going to boil me down to something that’s manageable.

There’s always an innate depth, inaccessibility, unmanageability about this, and at times that comes home to us with enormous force when we would like there to be a simple answer — part of the burden of what Old and New Testaments alike say: Be careful of idolatry. You’re always prone to making a God you can manage.

That’s what idolatry boils down to. You can make that manageable God in any number of forms. You can make it in religious forms. You could make it in economic and social forms. Just be very conscious that, as the Lord says to Moses, “You shall have no other gods before me.” Don’t go putting in his place something which is a pseudo-God.

When you’ve got all that going on in the background, then it does seem to me that there’s always going to be that elusiveness, that “something around the corner of your vision” quality about God. At the same time you are talking about this elusive and unmanageable, unimaginable God there have been lives and signs and nudges and hints everywhere you look. In the work of some great mystical writer like St. John of the Cross you have that sense that at one and the same time, there’s nowhere you can pin God down in the world and there’s nowhere where God isn’t. And you are always poised on the knife edge.

Reinforcing that, look at the basic story of Christian faith, the story of Jesus Christ, and you see that Jesus himself, as he moves toward his death, stares into the darkness and says: Well, can’t you do something to stop this? “Let this cup pass from me.” On the cross he asks, “Why have you abandoned me?” And those things have always been profoundly difficult for Christians to get their mind around but also profoundly important in helping us see that Jesus’ humanity is real. It’s as three-dimensional as ours. And also, when we feel those dark moments of rebellion, we’re not alone. Those words have been spoken by the son of God himself, so don’t be too surprised. As St. John of the Cross says in one of his works: Don’t imagine that God is going to make things so much easier for you than they were for Jesus.

Wehner: It sounds like what you’re saying is God is elusive but deeply present.

Williams: Deeply present, yes. Absolutely that, and I love the Jewish image of the divine glory, the Shekinah, being present everywhere in the world but present as if it were a beggar in the street, as if scattered, exiled, obscure. Yet around every corner is this presence, this insistent reminder.

Wehner: Early in my Christian journey, I was struck by the exchange that Jesus had with Thomas, when Jesus told Thomas, after Thomas asked for evidence, “Blessed are those who haven’t seen and believed.” I thought, “Now, why is that? Why would it be better to believe not having seen?” I was never fully able to answer that question, but I came to understand that there was something in the nature of faith that was important to God, that Kierkegaard’s leap of faith meant something to him.

Williams: It’s a real theme in St. John’s Gospel, isn’t it? Because it’s not only the story of St. Thomas but also earlier on, at the Last Supper, when Jesus says, “It is expedient for you that I go away,” as if Jesus is saying, “If I stay around, it’ll be all too easy for you to be comfortable with the assurance of the love of God and the healing power of God that I have embodied for you. But actually, for you to be open to the full range and depth of what God is going to give through the life of the Holy Spirit, then you’ve got to let go of having me around as a best friend. It’s more than that.”

“The point of my going away is that immeasurably more will open up. If I don’t go, the Holy Spirit won’t come,” says Jesus, in effect. “If you cling to me as a human friend, a warm presence, that’s not it.” There’s a joy and a fullness beyond that.

That’s the good news. The bad news is that in order to open up to that fullness, you’ve got to let go of pretty well everything you think makes you feel better, which is why Christian spirituality has a very complicated relationship to joy and fulfillment. It’s all about joy and fulfillment, and it’s all about the fact that joy and fulfillment, if they’re real, if they’re durable, cost you.

Wehner: You’ve debated some of the most prominent New Atheists, as they were referred to some 15 years ago. One of them is the evolutionary biologist Richard Dawkins. What do you think they might have missed in their understanding of faith or of God?

Williams: It’s been an interesting experience, being in debate with Richard, with others like A.C. Grayling and Philip Pullman. I always learn from those encounters, and I have respect and affection for them. I think what’s missing sometimes is precisely that sense that when we talk about God, we’re not just talking about a thing or a person, in the sense of an individual. As a Christian, I believe in God as Trinity. I believe in God as an interweaving of personal agencies, the love and mutuality of what we call the Father, the Son and the Holy Spirit. In that sense, I’m not saying I believe in an impersonal God. Far from it.

But very often the God who’s being attacked and questioned by the Dawkinses and the Graylings and the Pullmans of this world is a God I don’t believe in, either: an individual who sits in the remote parts of the universe and treats the rest of the universe as an intriguing hobby for himself, rather than the God who is much more like the ocean that soaks through everything that is and yet is infinitely beyond it.

I found recently in the work of a 17th-century Welsh Catholic writer, Augustine Baker, a wonderful image: that the soul without God, the soul cut off from God, is like a whale stuck in a pond. It longs for the ocean, he said. It can’t be in the depths where it belongs. Now, I don’t hear very much of that sense in the New Atheists. They come up with all sorts of very neat and, as far as they go, perfectly rational arguments about how difficult it is to believe in some chap out there in midspace.

I want to say, “Well, yeah. I have no interest in a chap out there in outer space, none at all.” But I am quite interested in what the infinite, unconditioned life of generosity is within which I and everything else live. And I have every interest in the story of how that life astonishingly comes to fruition in the middle of our history in the life of Jesus. Now, that’s something I do think I can spend my life thinking and praying about and something that transfigures the horizons in which we live.

So the old chestnut about talking about the existence of God is like saying, “Well, there’s a chocolate teapot infinitely circling the earth, and it happens to be invisible and intangible and incapable of offering any evidence at all for its presence, and I still believe in it.” Well, no. Open a page of St. Augustine or George Herbert or T.S. Eliot or Dostoyevsky, and chocolate teapot doesn’t quite do the work there.

Wehner: It sounds like you reject the God of the New Atheists but your God is not their God.

Williams: Indeed, and there’s a very interesting paper by a French writer, Olivier Clément. He was a convert to Russian Orthodoxy, and back in the late ’60s he wrote a very interesting essay called “Purification by Atheism,” in which he said, long before the age of Dawkins and the others: When people talk about the death of God, when people talk about the impossibility of belief, one thing we might say in response is, “Well, thank God, you’ve been delivered from a particular kind of idolatry in mythology. Thank God, you’ve broken through the chocolate teapot level and realized that it’s much more exciting than that.”

Wehner: Let me ask you an interpretive question related to Christianity. How would you recommend Christians think about situations in which they’re convinced the Bible is teaching something that their moral conscience would otherwise say is horrifying? For example, the slaughter of the Canaanites, including children and other innocents, or God predestining people before time to eternal conscious torment.

Many American evangelicals argue that our moral consciences are fundamentally flawed and often unreliable and therefore we have to let the Bible shape our moral consciences rather than the other way around. Their view, as I understand it, is 1) the Bible, inerrant and infallible, clearly teaches these things and 2) human beings are in no position to question any action of God. They’d much rather have God’s revelation — or what they believe to be God’s revelation — be the source of what they consider to be true and good. They don’t want to rely on human logic or moral intuition, even if God’s revelation seems to endorse genocide or God creating individuals predestined to experience unceasing agony. What problem, if any, do you see with this fairly widely accepted approach to the Bible and moral reasoning?

Williams: I’m familiar with the approach, and I’ve come across it in parts of my own church from time to time. The problem that strikes me is that it takes the Bible completely out of any sort of human context, as if the Bible had fallen from heaven as a self-contained unit, as if it were exactly like what the Quran claims to be. But the Quran, of course, is radically different. The Quran was composed in one short period and proclaims itself to be direct revelation. The Bible doesn’t seem to work like that. The Bible is the accumulation of what you might call the interaction of God with a succession of human societies.

Within the Bible itself, you have little bits that are in tension with one another. To take one of my favorite examples: You have God apparently telling Elisha to go and anoint a new king for Israel, Jehu, and to overthrow the dynasty of Ahab, and there’s a blood bath that follows. And then, at the beginning of the book of Hosea, a century or so after that, you have a statement essentially that that blood bath was an offense in the eyes of God.

So you have already — and this is the really important thing — you have the self-critical element within Scripture. The one thing you don’t have is a revelation you can grasp hold of and say, “Now I can weaponize this against whoever I choose.”

Now, that means if you read the Bible as it stands — literally, if you like — what you have is a painful, protracted conversation on who the God is that is engaging with you. There are moments where you will draw radically mistaken conclusions from that.

There are also moments where you can see a continuity you hadn’t expected. I love the idea that the Book of Ruth was written as a pushback against an excessively exclusive racial policy in the Judaism of the postexilic period, where somebody said: All right. You may be very unhappy with the Jews returning from exile and marrying the people of the land. But don’t forget that King David’s great-grandmother was a Moabite.

Even within the New Testament, you can see the gradual emergence of a recognition that this new community doesn’t work by quite the same standards and quite the same protocols as the Jewish world. It’s continuous, but it’s also fresh. What does that mean? You have sometimes the painfully difficult language of antisemitic hatred that appears in pages of the New Testament. At the same time, you have in St. Paul the clear affirmation: Well, I’m proud to be Jewish, and the future of the world is somehow connected with the history that begins with Jews, and don’t forget it.

So a process is always going on, a lively exchange, a discovery over time. Now, I think that is how to read the Bible literally, and I think that is quite consistent with saying the Bible is the Word of God, in the sense that the Bible tells us what God needs us to know. And looked at as a whole, it says what we need to know is that we are made freely by God, in God’s image. That we are from the very first moment of being made in God’s image also capable of an almighty train crash of misunderstanding and misrepresentation. Our massive misinterpretation of who God is and what God is up to doesn’t frustrate the purpose of God. God is faithful. Any Jew would say that. A Christian would add that faithfulness is embodied once and for all in the event where the worst thing possible is done to the incarnate representative of God and God is not defeated by it — the cross and the Resurrection.

Now, I think that gives you quite a bit to go on, and I think it does indeed shape a moral perspective on things. What it doesn’t do is say anything and everything that is described in Scripture as good must be accepted as good and anything that Scripture describes as bad has to be accepted as bad — never mind the context, never mind the place it holds the unfolding story that I’ve mentioned. I just don’t think it can be quite that simple.

That’s not putting our values or our principles in the place of the will of God. It’s much more saying: Let the whole of that story shape my principles and my vision. Because when that happens, I don’t see that it’s consistent to believe in a God who deliberately endorses genocide, a God who deliberately creates people for damnation. Is that the God who is at work in the story of faithfulness, the story of a constant radical reclaiming of the human world through compassion and absolution, the God of Jesus?

So, yes, I think the idea that we just park our instinctive moral reactions and accept what the Bible says is a travesty. And I would use that strong a word, because of course, our moral instincts are faulty, but they’re faulty because they are self-protective, self-serving, idolatrous, short term, based on fictional views of who we are and what we are. Yes, they’re faulty in all sorts of ways. But when I say I can’t imagine God commanding genocide, then my inability to believe that God commands genocide is precisely not a failing to do with my selfishness or my idolatry. I think it’s the beginnings of a sense of where the true God is at work and where he isn’t.

So I want us to read the Bible again and again. I want us to read it literally and closely and intensely and prayerfully and to read it as a whole and not just to say, “It’s a sort of monolithic block.” It’s much more interesting, much more challenging, much more transformative if we can get into the conversation that the Bible embodies.

Wehner: It sounds like what you’re saying is that the Bible is both the Word of God and a dialectic and that God has invited human beings into the process in an intimate way beyond simply being transcribers.

Williams: Absolutely, yes. Because of course, if you say that the whole of the Bible is the Word of God, then you are saying that, for example, the passionate protests against God that you find in the Book of Job are the Word of God. That the Psalms — where the psalmist says: Where are you? What are you doing? I can’t come to you. Are you deaf? — that’s the Word of God. The words of protest and pushback against God, that’s also what God wants you to know. He wants us to hear: It’s all right to express that anguish and frustration. Don’t panic. I’m not going to go away because you shout at me.

3. The Jesus Who Never Stops Asking Questions

Wehner: The theologian David Bentley Hart said that he finds Jesus to be “infinitely compelling.” Hart says he finds the Christian religion is “a dogmatic and institutional reality” secondary and even marginal to his faith. It’s the person of Jesus, “the presence of God in time,” he finds impossible to abandon. I wonder if you could talk about what aspects of Jesus you might find infinitely compelling.

Williams: Let’s begin with Jesus as a storyteller. One of the things that people seem to have remembered about Jesus is that he told extremely good stories and stories which left you with an enormous agenda of self-discovery. So with the great classical stories like the good Samaritan and the prodigal son, you are left not with a neat answer to the question. You are left with a question to you: Who do you identify with? Where do you stand in this? And what are you going to do? Are you going to be the sort of person who resents the generosity shown to another, like the elder brother in the prodigal son? Are you going to be the sort of person who finds a good religious excuse for not crossing the road to attend to suffering?

So the first thing that strikes me is that the compelling distinctiveness of Jesus has a great deal to do with the stream of powerful, disturbing stories which put you on the spot, which make you ask: So who am I? Where am I? And do I know who I am yet?

The second thing is — it’s an odd thing to say about the figure of Jesus in the Gospels, but I’ve always been struck by it — from time to time there’s a deep impatience in Jesus: How can I make this clear to you? You’re an unfaithful generation. He bursts out in exasperation at the disciples. Do you understand nothing? Even in exasperation of the crowds. Jesus said: You’re all looking for miracles.

In a strange way, I feel that’s a rather compelling aspect of the story of Jesus. There’s more going on in him than he can express, and sometimes it kind of bursts out. And when I think of what the divinity of Jesus means in that context, one of the signs of it is that feeling he’s got more to say than human language can carry. As he says in St. John’s Gospel, “I have many things to say to you, but you cannot bear them now.”

And it’s almost as if Jesus goes to the cross saying: The only way of telling you what the love of God is like is to absorb this monumental violent injustice and show you that God is not crushed by it.

Not words but the act of redemptive self-giving. The image I’ve sometimes used, especially with St. Mark’s Gospel, is it’s almost as if you’re looking at a Jesus who stands at the mouth of an enormous dark cave. Behind is a mystery you can’t get at and express. He’s trying to tell you something about it, and it doesn’t always come through. But it comes through finally in the act and the suffering rather than in the words. And that I’m completely compelled and haunted by.

But on top of that, the more obvious things — the instinctive compassion for the rejected and the forgotten — and the deeper tension when people come for healing and Jesus turns to them and says: So what do you want me to do? You have to say it. You have to tell me. It’s as if he’s saying: Step out. Let me know where the pain is. Let me into that.

I find it so deeply moving that he doesn’t wave a wand. He attends. He spends the time. And of course, famously in the story of the woman taken in adultery where he, in effect, enacts an enormous joke. Addressing professional teachers of the law, you could paraphrase his response: So you are very keen to uphold the standards of the law, right? You’re clear the law says such behavior is sin. So fine, go ahead. If you’re confident that you deserve better from God than this person does, just go ahead. I’ll watch.

And that profoundly convincing and compelling moment when nobody quite has the nerve to say: I deserve a reward from God. And they all drift away. You have that almost comical moment where Jesus looks up from doodling on the ground in the dust and says: Oh, have they all gone? It’s one of those moments which to my mind just shines through with a sense of the eyewitness recollection of something very, very unusual.

Wehner: You mentioned Jesus entering into the pain of others. I want to ask a question about Rowan Williams entering into the pain of others. You’re a renowned scholar, but you’re also known as a man with a pastor’s heart. So I want to ask you this: When you’ve pastored people in the midst of grief — a terminal diagnosis, the death of a dream, the death of a child — what have you found is most helpful for them to receive from you? Is it something you say? Some perspective you can offer? Or perhaps it’s mainly your presence, listening to them, weeping with them, reassuring them, even giving them the space to rage at God. So what does it mean for you to be a minister of the Gospel in those moments?

Williams: The main thing is always accompaniment. You’re not there to answer questions at the theoretical level. You are there to try to embody the God who is not going away. And that does mean sometimes sticking through times when people rage not only against God but against the church, against you personally. And the challenge is: Can you take a deep breath and absorb that as some kind of sign that God is not to be written out of this encounter, this event, and God will not turn his back?

And that’s hard. It’s hard in individual pastoral terms at times because you’d quite like people to go away saying, “Oh, he was so helpful.” And when people say, as occasionally they do, “Well, that’s no help to me at all,” you just have to digest that.

But it’s also something about the church, isn’t it? Because people rage at the church, and I don’t blame them. They rage about its history of exclusion of various kinds of people. They rage about its record on child abuse. They rage about its wealth, its indifference, all sorts of things. And here am I, ordained in the church. So I’m part of that system against which they’re raging. And it’s not part of my job to say, “Oh, it’s not as bad as you think,” but to say, “Yep, it’s pretty bad. And the only thing I can tell you is that we’re still here not because we’re succeeding but because God is present.”

What the church does is not to point to itself as an example of impeccable behavior and triumph and success but to point to the faithfulness of God who won’t let go of even this very unpromising human material. So all of that somehow comes into this business of accompanying, accepting the pain and the anger and trying not to be crushed by it.

Wehner: That’s very moving.

If faith was not a part of your life, how would Rowan Williams be different? And I mean as a person, not vocationally, what part of you that is essential to who you are would be missing? And would the world be less enchanting to you without your faith?

Williams: I certainly believe that the world would be less exciting without my faith. I’ve been blessed with so many examples of people whose faith has, as I said right at the beginning, enlarged and enriched what I see and what I sense.

But what would be different about me? The main thing that came to my mind was I think I’m very much a perfectionist, in the sense that I like to think that I’m doing well, that I can polish my image successfully. And I can be very unforgiving of myself when I get that wrong.

And I think, without faith, that would have made my life even less edifying than it is. I’d have been trapped in that mixture of self-punishing and self-aggrandizing that is so easy to slip into. I aim at a polished self-image, and at the same time, I’m brutally unforgiving of myself if that doesn’t work and unforgiving of others who make it difficult for me.

There are personalities around us, even in some very high places, who seem to be trapped in something of that kind of hall of mirrors. And I guess I would be much more trapped in that without faith, with how to manage the reality of failure, the reality of having to start again, the reality of knowing one’s limitations, the reality of needing to be forgiven.

Wehner: When people have asked me about faith, I’ve said it’s almost as if you’re dropping food coloring into water. It changes everything. It’s not compartmentalized. Over time you may not even be aware how you’re different. So when you think of the question “How would I be different without my faith?” in some respects you think very little would be different, and in other respects you think everything would be different.

Williams: Everything would be different. Yes, that’s right. That’s right.

Wehner: It’s the prism, I think, through which people of faith see things.

Williams: Interesting, isn’t it? That we turn to these images of life in the water, like the whale in the pond once again. Everything’s different if the whale is in the ocean.

Wehner: When you think about your vast work over the course of your life, which traverses so many disciplines and genres, what are the unifying themes? What are some of the things you’ve most wanted to convey to others?

Williams: What I’ve most wanted to convey, I suppose, is that sense of the enrichment just around the corner of your vision, the perspective of that eternally overflowing source of love and mercy and how that lights up everything. I’d like people to see the world afresh. I suppose that’s why my other vocation, if you like, as a poet, has come in there. And I see what I do as a poet and what I do as a theologian or a preacher as absolutely bound up. I’ve been — I still am, to some extent — an academic theologian. I preach regularly. I write poems. They’re all about this new landscape, trying to get people into a new landscape. And if anything that I’ve said or done has somehow kept the door open to the depth and the richness of that new landscape, then I might not have been wasting my time.

Wehner: Well, you’ve helped a lot of people keep a lot of doors open through your life and ministry. So thanks for doing that, and thanks for doing the interview. It was moving and enlightening — and helpful to me on a personal level.

Williams: Thank you very much."]]></description>
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<item rdf:about="https://nautil.us/its-the-secret-doctors-keep-from-you-1212605/">
    <title>It’s the Secret Doctors Keep from You - Nautilus</title>
    <dc:date>2025-05-23T19:39:19+00:00</dc:date>
    <link>https://nautil.us/its-the-secret-doctors-keep-from-you-1212605/</link>
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    <dc:date>2025-05-16T00:07:25+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["In our age of certainty and dogma, we would all do well to learn from the philosophy of the ancient Greco-Roman sceptics"]]></description>
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    <title>La Base Comanche 2x27 | ¿Qué planean los ultrarricos? - YouTube</title>
    <dc:date>2025-04-26T18:00:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8EoH2wHE-_I</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Hoy en La Base Comanche Laura Arroyo, Ignacio Reyes y Rober Saavedra  analizan la utopía de los ultrarricos que a través de distintos hechos dan muestras de su plan de salida ante el apocalipsis que ellos mismos están potenciando. ¿Qué une a Trump, Bezos, Musk y Katy Perry? Lo analizamos hoy con la participación de Lorenzo Tecleme (Diario Red) y Bruno Sgarzini (Periodista internacional)."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=T-1s9AykUyU">
    <title>The week Trump nearly crashed the world economy - YouTube</title>
    <dc:date>2025-04-13T16:22:46+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=T-1s9AykUyU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The world just went totally mad. Here's what it means.

Timestamps

00:00 Introduction
02:55 Trump's Actions 
04:58 Understanding Trade Deficits
09:41 Economic Inequality
10:51 Tariffs and Their Implications 
12:33 Understanding Taxation Systems 
20:53 Income and Spending Patterns Across Economic Classes 
23:05 Impact of Tariff Policies on Global Trade and Poverty 
25:11 Humanitarian and Economic Consequences of Tariffs 
27:12 Tariffs and Strategic Implications
34:42 Economic Uncertainty
40:35 Market Manipulation and Trader Psychology 
47:43 Global Implications 
50:08 Comparison to Fyre Festival
51:59 Build a Better Future"]]></description>
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    <title>Media mistakes around masks and lab leaks in Covid hurt public trust | Vox</title>
    <dc:date>2025-03-26T04:37:20+00:00</dc:date>
    <link>https://www.vox.com/future-perfect/405263/covid-media-coronvirus-masks-lab-leak-public-health</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Our Covid mistakes did lasting damage. No one wants to talk about it."]]></description>
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    <title>Chartbook 342 Are we all dead in the long run? John Maynard Keynes and the politics of time</title>
    <dc:date>2024-12-22T20:31:02+00:00</dc:date>
    <link>https://adamtooze.substack.com/p/chartbook-342-are-we-all-dead-in</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Guest essay by Stefan Eich"]]></description>
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    <title>Literatura e incertidumbre - ¿Qué hace la poesía para ayudarnos a sobrellevar el futuro? - YouTube</title>
    <dc:date>2024-12-22T02:03:19+00:00</dc:date>
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Aquí intenté trazar uno atisbo vasos comunicantes entre científicos, poetas y poetas-científicos, pero no es más que una pequeña muestra de un fractal."]]></description>
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    <title>How the novel became a laboratory for experimental physics | Aeon Essays</title>
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    <link>https://aeon.co/essays/how-the-novel-became-a-laboratory-for-experimental-physics</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["By testing the boundaries of reality, Spanish-language authors have created a sublime counterpart to experimental physics"
]]></description>
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<item rdf:about="https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/">
    <title>Cuatro cuentos cuánticos, de Javier Argüello - Zenda</title>
    <dc:date>2024-11-24T07:35:40+00:00</dc:date>
    <link>https://www.zendalibros.com/cuatro-cuentos-cuanticos-de-javier-arguello/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Los cuatro relatos que componen este libro desafían literalmente la consistencia del mundo que habitamos. Un ejemplo: un periodista varado en Ucrania termina encontrándose en Londres con un escritor del siglo XIX. Y es que los saltos cuánticos que propone el título no son aquí cosa de broma.

En Zenda reproducimos el arranque del relato “Partir”, presente en el libro Cuatro cuentos cuánticos (Random House), de Javier Argüello.

***

PARTIR

Fue una noche en el bar de la universidad que conocí a Oscar Caridad. Oscar Caridad era un loco. Y sé que esto es algo que se dice de mucha gente, pero en este caso no se trata de una apreciación mía. Tal vez convenga aclarar que yo asistí a la Facultad de Ciencias Sociales de la Universidad de Buenos Aires, el lugar escogido por los integrantes del Frente de Artistas del hospital psiquiátrico José Borda para dar a conocer sus trabajos. Oscar Caridad formaba parte del taller de poesía, y la noche de la que hablo había venido junto con otros internos a enseñarnos sus escritos. Yo había terminado mi última clase y, antes de irme a casa, había decidido pasar por el bar a ver si me encontraba con alguna cara conocida. Fue así que, por pura casualidad, di con el singular grupo de poetas.

Antes de dar por comenzado el evento, el coordinador del taller nos explicó que lo que íbamos a escuchar eran justamente las reflexiones de los internos acerca de lo que representaba para ellos la palabra poesía. El texto presentado por Caridad se titulaba Partí, y constituía una hermosa y poética explicación acerca de la manera en que había comenzado a alejarse el mundo, hasta que llegó un punto en que se le hizo imposible compaginar ese alejamiento con la realidad cotidiana. Me impresionó de tal manera que, luego de que bajara del escenario, me acerqué a hacérselo saber y a pedirle que me dejara fotocopiarlo o transcribirlo. Accedió con aire ausente y, como la fotocopiadora ya estaba cerrada a esas horas, nos sentamos en una mesa, yo a copiar su escrito y él a esperar a que lo hiciera. Apenas había empezado cuando Caridad me preguntó si el edificio en el que estábamos era el de la Facultad de Filosofía y Letras. Le expliqué que no, que era el de Ciencias Sociales, y restándole importancia al asunto seguí trabajando. No pasó mucho tiempo, sin embargo, antes de que volviera a interrogarme acerca del mismo asunto. ¿Y en algún otro momento no fue la Facultad de Filosofía y Letras? preguntó. No lo creo, le dije. En los cinco años que llevaba estudiando allí nunca había escuchado a nadie que hiciera ninguna referencia al tema, así que asumí que mi interlocutor debía estar confundiéndose ¿Está seguro?, insistió él. Más por complacerlo que por otra cosa, interrogué a la gente del bar al respecto y para mi sorpresa descubrí que, efectivamente, hasta hacía doce años atrás, esa en la que nos encontrábamos había sido la sede de la Facultad de Filosofía y Letras de la Universidad de Buenos Aires. Sentí algo de vergüenza. En ningún caso había querido tratarlo como a un loco, pero las circunstancias hacían poco probable que él pensara algo diferente. Discreto, sin embargo, guardó silencio. Seguí trabajando, y ya casi había terminado, cuando Oscar Caridad intervino de nuevo. Yo antes estudiaba acá, me dijo obligándome a levantar la vista. Entonces me miró a los ojos, y con la misma inmutable inexpresividad agregó: yo antes era como vos.

Transcribo a continuación el poema que Oscar Caridad leyó esa noche:

<blockquote>-Partí-
En el muelle saludé vestido de rojo.
Sabía y estaba alerta del largo viaje de Ulises.
Soñé que mi pensamiento fuera como el mar.
Soñé con un violeta eterno.
La mecánica del ego nunca te deja ir del todo.
La inteligencia te juega trampas, como el recuerdo.

-Partí-
En la borda mirando el mar oscuro.
Tenso, vestía luto.
Despedí mis últimas palabras reconocidas.
Despedí la muerte del delirio de este mundo.
Una palabra volvió sobre sí: poesía.
El retorno de la fuga de todas las palabras.</blockquote>

El hecho ocurrió hace unos diez años, y no fue sino hasta esta noche que volví a tener noticias de Oscar Caridad. Fue en un bar cerca de mi casa. Un bar en el que, extrañamente, nunca antes había reparado. Me encontraba regresando de un día particularmente ajetreado cuando lo vi. Y no es que estuviera escondido, no. Tampoco era un sitio nuevo. Se notaba en la arquitectura y en el mobiliario, y sobre todo en la forma en que el hombre que lo atendía se relacionaba con sus clientes. Era un tipo mayor y llevaba a cabo su trabajo con la mecánica tranquilidad que sólo el tiempo otorga.

Entré como por obligación. Me parecía una especie de deslealtad hacia vaya a saber quién esto de no conocer un bar tan cercano a mi domicilio. Me senté en la barra y pedí cerveza, y mientras esperaba, comencé a recorrer el sitio con la vista. Entonces lo descubrí. A escasos dos metros de donde me hallaba, y también junto a la barra, me encontré con la melancólica silueta de Oscar Caridad."]]></description>
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    <title>Javier Argüello: “Si no damos un sentido a la tecnología, se puede volver peligrosa”</title>
    <dc:date>2024-11-24T07:35:08+00:00</dc:date>
    <link>https://www.lavanguardia.com/cultura/20240415/9595054/javier-arguello-cuatro-cuentos-cuanticos-sentido-realidad-limite-ficcion-tecnologia-inteligencia-artificial.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El escritor argentino publica 'Cuatro cuentos cuánticos', donde explora los límites entre la realidad y la ficción"

...

"“¿Y si todo lo que estamos viviendo no es verdad? ¿Y si realmente estamos inmersos en una especie de show de Truman, en el que otros, sin ser nosotros conscientes, nos observan?”. Estas son solo algunas de las muchas preguntas que Javier Argüello (Santiago de Chile, 1972) se pregunta mientras se refresca la garganta con un agua con gas. Hace días que el calor acecha en Barcelona, pero puede que no sean las elevadas temperaturas para esta época del año lo que le causa sofoco, sino su constante búsqueda de los límites entre realidad y ficción, muy presente en toda su obra y especialmente en su último libro, Cuatro cuentos cuánticos (Random House).

“Tenía muy claro el título sin haber escrito nada. Así, que, el hecho de que fueran solo cuatro cuentos los que conformaban un libro, me obligaban a que fueran largos. Y eso es algo que no había hecho nunca”, asegura el autor argentino nacido en Chile y radicado en Barcelona, que presenta a un hombre que se reúne con sus compañeros de clase treinta años después; a un periodista varado en Ucrania que se encuentra en Londres con un escritor del siglo XIX; a un conferenciante que descubre las calles de Pekín de la mano de una íntima desconocida; y a un escritor que roza la locura siguiendo la pista de un paciente de un manicomio”.
“Las vidas posibles, soñadas e imaginadas, pero que no siempre son, es algo que me seduce. Los escritores vamos descubriendo nuestras obsesiones a lo largo de nuestra trayectoria. Yo no fui consciente del todo de qué era lo que tanto me impresionaba hasta que escribí mi primer libro de cuentos. Pensaba que eran historias inconexas, hasta que las leí de una sentada y me percaté de lo mucho que me fascinaba el tratar de entender cómo las reglas narrativas se entremezclan con la naturaleza provisional y aleatoria de lo real. La respuesta es fácil, si tiene sentido es ficción, porque la realidad no lo tiene”.

Argüello forma parte de un selecto grupo de escritores, como Benjamin Labatut y su Maniac (Anagrama), que incorporan la ciencia en sus relatos, pues “es algo que sale de forma natural”. Son muchos los foros multidisciplinares, de ciencia y humanismo, en los que participa y ya van dos veces que ha visitado el acelerador de partículas de Ginebra. Un provechoso viaje del que extraerá dos ensayos que llegarán en los próximos meses. 

No es extraño que, con esa predilección, esté pendiente de los avances robóticos y la inteligencia artificial. “La tecnología no es peligrosa en sí misma, pero debemos darle un sentido para que no se vuelva peligrosa. Si no hay un centro a partir del cual dotamos algo de sentido, podemos perder el rumbo y la dirección”.

La ciencia no deja de ser un relato”
Fue en la universidad cuando su vena científica salió a relucir: “Estudié ciencias sociales, pero cursé un seminario de física en el que me explicaron la idea de la consciencia construyendo realidad, y me pareció revelador”. Un principio que ya estaba presente en la antigüedad clásica, “cuando nadie dudaba de que la palabra rea el mundo. Ahora parece que estamos volviendo a esa vieja posibilidad”, dice convencido.

El autor de Ser rojo (2020) se pregunta a menudo por qué el sistema educativo separa a los alumnos en ciencias y letras, cuando “la ciencia no deja de ser un relato. Einstein decía que nos hemos especializado tanto, que estamos sabiendo cada vez más acerca de cada vez menos, hasta que va a llegar un punto en el que vamos a saber casi todo acerca de casi nada”. Una frase con la que está “cien por cien de acuerdo. Resume casi todo”."
]]></description>
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<item rdf:about="https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html">
    <title>‘Cuatro cuentos cuánticos’, de Javier Argüello: un salto a la incertidumbre de la mano de la física cuántica | Babelia | EL PAÍS</title>
    <dc:date>2024-11-24T07:34:36+00:00</dc:date>
    <link>https://elpais.com/babelia/2024-07-06/cuatro-cuentos-cuanticos-de-javier-arguello-un-salto-a-la-incertidumbre-de-la-mano-de-la-fisica-cuantica.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Este libro es a veces una introducción disimulada de la famosa teoría de Albert Einstein y otras, en las más, relatos de amor"

...

"Parece mentira que una teoría científica como la cuántica deje tanto espacio para maniobrar con la imaginación. Pablo Picasso creó el cubismo desde la idea de asimetría que llevó a Einstein a formular su teoría de la relatividad. También con Albert Einstein contrajo deuda Lawrence Durrell, cuando escribió el célebre El cuarteto de Alejandría; así lo reconoció un tiempo después. La música, el arte más cartesiano de todos, sirvió al escritor inglés Aldous Huxley a concebir su obra mayor y una de las más importantes del siglo XX, Contrapunto. He citado estos casos de connivencia entre ciencia y ficción para introducir al lector en la obra del escritor argentino (aunque nacido en Santiago de Chile) Javier Argüello. Por supuesto que estas concomitancias no son mecánicas. Cada una de las citadas tiene su manera muy particular de trasladar algunas leyes científicas a su estructura. En Javier Argüello, que ya lo sugirió en obras anteriores, se explicita aquella connivencia con mayor transparencia y convicción narrativa en el libro nuevo que ahora publica; se trata de Cuatro cuentos cuánticos.

La literatura de Javier Argüello se desenvuelve entre lo lineal de toda historia escrita y el salto a la incertidumbre, a lo no comprobable aunque tal vez vivido o soñado. En este libro, Argüello nos introduce en ese espacio que va de la física clásica a la mecánica cuántica, de la conciencia como creadora de la realidad a la indeterminación de esa realidad. Este libro es a veces una introducción disimulada de la teoría cuántica y otras, en las más, relatos de amor. Un viaje por las rutas de la incertidumbre hasta llegar al instante de los milagros terrenales.

Quiero decir que cada uno de estos cuentos puede funcionar perfectamente como nouvelles. Son cuatro historias con un desarrollo narrativo que los acerca a la novela corta. No se espera al final de cada uno de ellos ningún desenlace que nos sorprenda, ni ningún inicio que necesitemos completar con un final imprevisto. De los cuatro me quedo con tres, si tuviera que recomendarlos efusivamente. El que no me gustó se titula ‘Un cuento inglés’. Es un homenaje a Borges y me perdí, tal vez por ser demasiado borgeano. No pasa lo mismo con los otros tres. Tres enormes relatos a caballo entre lo que vemos y tocamos y lo que vemos, tocamos y alcanzamos para siempre."
]]></description>
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<item rdf:about="https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/">
    <title>Cómo son los Cuatro Cuentos Cuánticos de Javier Argüello - La Tercera</title>
    <dc:date>2024-11-24T07:33:30+00:00</dc:date>
    <link>https://www.latercera.com/culto/2024/09/17/javier-arguello-escritor-argentino-la-realidad-no-es-algo-dado-objetivo-e-inmutable-como-solemos-creer/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["El autor trasandino acaba de publicar Cuatro cuentos cuánticos, donde cruza la ciencia con la narrativa. En los cuatro relatos que forman la colección está la idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. Su autor habló con Culto, abordó su vínculo con la física y cómo construyó este particular artefacto literario."

...

"Al escritor trasandino Javier Argüello (52 años, nacido en Santiago de Chile), le interesa tanto la narrativa como la física. Un cruce que a simple vista parece improbable, pero él le encontró una vuelta. Como toda historia sucede en un tiempo y espacio, estos son elementos que de alguna manera pueden ser puestos en entredicho. Dicho de otro modo, la realidad, todo lo que vemos es algo que se construye con la participación subjetiva de cada cual. Así lo reconoce a Culto.

“El cruce entre la narrativa y la física es un tema que empecé a trabajar hace varios años, cuando entendí que la teoría cuántica abría la puerta a la idea de que la conciencia participa en la construcción de la realidad. En ese momento estaba estudiando el modo en que los relatos que nos contamos construyen nuestra idea de mundo, y me pareció muy sugerente el hecho de que hubiera una teoría científica que planteara cuestiones como esta. Estos cuentos son el resultado de la última exploración que he llevado a cabo en ese territorio de frontera”.

Así nacieron los Cuatro Cuentos Cuánticos, que el escritor acaba de publicar vía Random House, donde en 4 relatos aborda historias de personajes que en el paso del tiempo se ven enfrentados a diferentes situaciones. Como un hombre que asiste -a regañadientes- a una reunión con sus antiguos compañeros de colegio tras 30 años; un periodista que de estar en Ucrania de repente se encuentra en Londres con un escritor del siglo XIX; o la locura que un escritor experimenta junto a un paciente de un manicomio.

En los cuentos, hay una idea de que la conciencia -o el punto de vista particular- es de algún modo, generadora de la realidad. ¿Lo pensaste así?

Es algo que en la narrativa resulta innegable. Un relato no cobra sentido por su correlación con ninguna realidad exterior, sino a partir de la cohesión y la coherencia del punto de vista escogido para narrarlo. Lo interesante es que, al parecer, en la teoría cuántica, la realidad no termina de construirse, no termina de fijarse, hasta el momento en el que interviene la mirada del observador. Para la mecánica cuántica, eso que llamamos realidad no es más que un campo de probabilidades que sólo colapsa en una posibilidad concreta frente a la mirada concreta que un observador pone en juego.

¿Cómo equilibraste la precisión científica con la necesidad de crear historias atractivas y emocionantes? ¿Cuál consideras que es el punto óptimo entre ambas?

La clave que conecta ambas cuestiones es el punto de vista como creador de la realidad. Y en narrativa esa operación resulta ineludible, con lo que te diría que está presente en cada relato que leemos. La particularidad de estos cuentos radica en que la realidad construida juega con los propios límites de la realidad y acentúa el papel de la conciencia en el modo en el que ésta es moldeada. Pero al tratarse de historias, de artefactos narrativos, creo que lo que debe mandar es siempre la tensión dramática. No creo que se deba “ilustrar” una teoría, sino que hay centrarse en la acción dramática y dejar que sea el diseño estructural el que refleje los posibles saltos cuánticos.

¿Qué dificultades encontraste al escribir estos cuentos? ¿Hubo algún concepto o idea que te costara especialmente transmitir?

Todas tienen su dificultad, pero no sé si mayor que la que nos encontramos siempre que nos enfrentamos a la construcción de un relato. Es verdad que algunas de las ideas que están detrás de estos cuentos son un poco más difíciles de digerir que las que juegan con reglas de nuestro mundo cotidiano. Pero, al menos en el modo en el que yo entiendo el funcionamiento de un relato, siempre se trata de construir un artefacto o un artificio que genere un efecto más profundo y duradero que el que podríamos alcanzar con una explicación. Ahí es donde radica el desafío.

En Un cuento inglés, hay un guiño a Borges. ¿Qué te impulsó a eso?

La verdad es que la historia de ese cuento involucra otro cuento con el que el protagonista se encuentra en Londres de una manera misteriosa, y que efectivamente está incluido en una antología de la literatura fantástica recopilada por Borges, Bioy Casares y Silvina Ocampo, con lo que se trató de una cuestión más bien fortuita. Lo que no es fortuito es que ellos se hayan interesado por la literatura fantástica, y en ese sentido evidentemente hay una confluencia de intereses con las exploraciones que yo llevo a cabo.

En el cuarto cuento se desdibuja el límite entre la ficción y la realidad, entrando en una ciencia ficción. ¿Te consideras escritor de ciencia ficción?

Yo no diría que el género del cuarto cuento es la ciencia ficción, en el sentido de que no es una ficción propiamente científica. Creo que se corresponde más bien con lo que se define como ficción fantástica tal y como acabamos de mencionar a raíz de la antología de Borges, Bioy Casares y Silvina Ocampo. Pero por supuesto que las clasificaciones nunca son una cosa cerrada.

¿Cómo ves la relación entre la ciencia y el arte? ¿Crees que son disciplinas complementarias o que tienen objetivos completamente diferentes?

Creo que cualquier aproximación a la realidad es una ficción, entendiendo por ficción el ordenamiento caprichoso que un determinado relato hace de una realidad a la que no nos es posible acceder de manera directa. En ese sentido el de la ciencia también es un relato. La diferencia es que la ficción científica se define como no ficticia, inaugurando así la noción de lo real. Y es justamente esa noción la que la teoría cuántica está poniendo en jaque hoy en día. Hace un tiempo atrás un físico muy reputado me decía que, a nivel subatómico, la idea de una realidad objetiva sencillamente no es defendible. Y en ese sentido creo que sí, que las miradas de la ciencia y de la literatura se complementan y se enriquecen de numerosas maneras. En última instancia, con diferentes metodologías y criterios de validación, ambas se proponen entender y explicar el mundo que nos rodea.

¿Qué esperas que los lectores se lleven de la lectura de tus cuentos? ¿Deseas que reflexionen sobre la naturaleza de la realidad, que se interesen más por la ciencia o simplemente que disfruten de una buena historia?

Me encantaría que pasaran las tres cosas. Me encantaría que, a través del disfrute de una buena historia, los lectores tengan la posibilidad de cuestionarse la naturaleza de la realidad para comprender que no es algo dado, objetivo e inmutable como solemos creer, sino que está en permanente construcción, y que en ese sentido todos tenemos una cuota de responsabilidad en el modo en que se manifiesta. A fin de cuentas, y como te decía, somos las historias que nos contamos.

¿En tu experiencia laboral has podido compartir con el trabajo de los físicos?

Sí. He tenido ocasión de visitar dos veces el acelerador de partículas del CERN, en Ginebra, y participo de algunos foros multidisciplinares con algunos físicos a partir de los cuales hemos desarrollado diferentes instancias de colaboración mutua. El espíritu que las gobierna es siempre el de enriquecer nuestra mirada sobre el mundo poniendo en común nuestras diferentes aproximaciones. De hecho, en octubre llega a Chile un breve ensayo titulado “Los límites de la ciencia” en el que cuento la primera de mis visitas al CERN y las reveladoras conversaciones mantenidas con los físicos que allí trabajan. En noviembre he sido invitado al festival Puerto de Ideas, en Valparaíso, para hablar de todos estos temas.

¿Consideras este libro una introducción a la mecánica cuántica?

No, no. Este libro es una exploración narrativa de algunas de las posibles implicaciones que la teoría cuántica despliega acerca del modo que tenemos de entender la realidad. Parafraseando a un físico chileno con el que tuve ocasión de conversar, se trata de un intento de que la gente pueda aproximarse a los misterios de esas implicaciones sin tener que entender de ecuaciones, así como puede disfrutar de la música sin tener que entender lo que es una corchea."]]></description>
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<item rdf:about="https://sarahendren.com/2024/10/31/ruling-out-flippancy/">
    <title>ruling out flippancy | sara hendren</title>
    <dc:date>2024-11-01T04:21:40+00:00</dc:date>
    <link>https://sarahendren.com/2024/10/31/ruling-out-flippancy/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I wrote this summer about the need for the prescriptive disciplines [https://sarahendren.com/2024/06/21/the-how-and-the-why-part-3/ ] in any university, but Brad East says it so much better [https://theraisedhand.substack.com/p/the-knowledge-of-god ]:

<blockquote>One way to frame knowing God is to describe it as a quest for ultimate truth. Philosophy is an explicit form of this quest, and science is an implicit form of it. On this quest for truth with a capital “T,” the little word “God” may or may not name a concrete entity or living being; it may be a stand-in for the end of the search, or perhaps a hypothesis yet to be proven. Nevertheless the pursuit of Truth is finally the pursuit of God, on one hand, inasmuch as the question of God inevitably arises at some point in the journey toward knowledge; and, on the other, because as a matter of historical fact the search for Truth is inseparable from the knowledge of God — even when His existence is denied or unknown. In the West this is a historical given through the Enlightenment and Romantics; just think, for example, of Descartes, Pascal, Spinoza, Locke, Newton, and Leibniz, men born only fifty years apart, and each in his own way captivated, sometimes obsessively, by divinity. The rule still obtains into the twentieth century, too, even for the most secular or naturalistic thinkers. Simply put, God is unavoidable. Every serious intellectual comes to Him eventually.

No student, therefore, should earn a liberal arts degree without facing God either. But how?

One way is to learn about candidates for deity. It may be surprising how few there are. To be sure, there are countless ancient claimants to the throne, but these have been either defanged or mocked into fiction. A study of gods thus is a study of religions, because gods have living worshipers or they don’t exist. But there is a difference between studying gods and studying “world religions.” The irresistible temptation of the latter is to sample the global buffet as a kind of dilettante anthropologist: a classroom tour of exotic specimens representing outmoded superstitions. How quaint, we remark, as we set the icon back on the desk.

That’s not what I have in mind. Any legitimate candidate for deity wants your soul. A class devoted to the gods should take this seriously. Just as a good philosopher will teach students that questions about meaning and purpose are not abstract or irrelevant but urgent and existential, so a theologian will teach students about the gods as a matter of life and death. Is God? and Which is God? are questions on which everything hangs. To say this is not to prejudice the answers — perhaps they are No and None — but it is to rule out treating the subject flippantly, as akin to astrology or alchemy. It is also to assert that theology, which is the study or knowledge of God, belongs in any university worthy of the name.</blockquote>

For folks who are still skeptical: last night I went to a talk that was partly about quantum physics and the multiverse hypothesis. One ongoing debate among physicists is whether the multiverse idea constitutes “metaphysical overreach,” that is, whether physics is equipped to posit such an interpretation from the uncertainty made evident in quantum mechanics. If you’re chasing down the nature of reality, at some point you bump up against inescapably metaphysical questions. To treat those questions as optional, rather than the heart of the matter, is to abandon higher education."]]></description>
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    <title>There Is No Show More Beautiful Than This – Tove Danovich</title>
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<item rdf:about="https://www.latimes.com/environment/story/2024-09-11/climate-anxiety-essay?">
    <title>To fix climate anxiety, we first have to fix individualism - Los Angeles Times</title>
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    <title>American Suburbs Are a Horror Movie and We’re the Protagonists</title>
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<item rdf:about="https://podcasts.apple.com/us/podcast/the-jazz-musicians-guide-to-the-universe/id1081584611?i=1000666609060">
    <title>The jazz musician’s guide to the universe - The Gray Area with Sean Illing - Apple Podcasts</title>
    <dc:date>2024-09-10T01:02:38+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/the-jazz-musicians-guide-to-the-universe/id1081584611?i=1000666609060</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How is the origin of our universe like an improvised saxophone solo? This week, Sean Illing talks to Stephon Alexander, a theoretical physicist and world-class jazz musician. Alexander is the author of The Jazz of Physics and his most recent book, Fear of a Black Universe. This episode features music by Stephon Alexander throughout, from his latest 2024 album Spontaneous Fruit and his 2017 EP True to Self."

[also here:
https://open.spotify.com/episode/1lvWQfEfR13ndtlYHWOkl2 ]

[transcript:
https://app.podscribe.ai/episode/108939122 ]]]></description>
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    <title>La inteligencia de las plantas. Planta sapiens, Homo stupidus - Paco Calvo l Biobío 2024 - YouTube</title>
    <dc:date>2024-09-04T17:31:17+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=_k8YxMWMRTk</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A menudo pensamos que somos la cúspide de la inteligencia y la evolución, pero ¿es realmente así? Las plantas enfrentan muchos desafíos: cómo dirigir sus raíces y tallos para obtener luz y nutrientes, cómo defenderse de los herbívoros y cómo alertar a otras plantas sobre peligros. Aunque no tienen neuronas ni un sistema nervioso como nosotros, tienen estructuras sensoriales que les permiten comportamientos adaptativos sorprendentes y flexibles. En esta conferencia, el reconocido filósofo de la ciencia Paco Calvo abordó si realmente somos la especie más inteligente, buscando superar la “ceguera vegetal” que nos afecta a todos en mayor o menor medida. Además, explicará por qué valorar la inteligencia vegetal no solo da lecciones de humildad, sino que también amplía la comprensión de lo que significa ser inteligente, demostrando que al estudiar las plantas, podemos aprender más sobre nosotros mismos."]]></description>
<dc:subject>pacocalvo 2024 plants intelligence morethanhuman multispecies consciousness nature howwethink science ignorance perspective biology computers computing philosophy experts physiology jetlag centrism neurocentrism zoocentrism anthropocentrism inference observation brain prejudice arrogance locomotion scale time decentralization earth life circadianrhythm circadianrhythms regularity uncertainty timelapse anticipation adaptation evolution senses behavior conservation anesthesia ethics</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=Eg9rqkqGGKM">
    <title>AI SuperCut of Big Questions about life, death, love, work, and the future of humanity - YouTube</title>
    <dc:date>2024-08-29T20:34:10+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Eg9rqkqGGKM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["created this as a conversation starter for my Introduction to Cultural Anthropology class

The Art of Being Human https://amzn.to/2vDOPUo 
Free Anthropology Course: http://anth101.com 
Social Media: @mwesch"]]></description>
<dc:subject>michaelwesch 2024 ai artificialintelligence life death love work humanity technology alexa sciencefiction scifi generalintelligence agi dystopia intelligence negativeexternalities externalities unknowns avs climatechange driverlesscars globalwarming labor society economics civilization socialstructure kinship superstructure infrastructure environment demographics power powerrelations politics policy change consequences law legal finance medicine cance diseases skills humans humanism anthropology bard ibm automation automationanxiety computers computing productivity wellbeing standardofliving robots capitalism latecapitalism socialsafetynet ethics ubi universalbasicincome wealthinequality inequality manufacturing thomaspaine mlk miltonfriedman andrewyang purpose meaning meaningmaking careers significance unemployment living experience humanexperience philosophy socialsciences relationships socialscience knowledge knowledgeproduction humanities machines machinelearning intimacy emotionalsupport friendship fulfi</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:2c04debfeee1/</dc:identifier>
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<item rdf:about="https://faith.yale.edu/media/fully-alive">
    <title>Fully Alive | YCFC</title>
    <dc:date>2024-08-19T03:53:07+00:00</dc:date>
    <link>https://faith.yale.edu/media/fully-alive</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://ablerism.micro.blog/2024/08/18/i-find-elizabeth.html ]

"Modern Monasticism & the Topography of the Soul"

...

"Elizabeth Oldfield discusses what it means to be fully alive and at peace with ourselves and our neighbors in the anxiety and fear of contemporary life.

What does it mean to be fully alive and at peace with ourselves and our neighbors in the anxiety and fear of contemporary life? Joining Evan Rosa in this episode is Elizabeth Oldfield—a journalist, communicator, and podcast host of The Sacred. She’s author of Fully Alive: Tending to the Soul in Turbulent Times.

Together they discuss life in her micro-monastery in south London; the meaning of liturgical and sacramental life embedded in a fast-paced, technological, capitalistic, obsessively popular society; the concept of personal encounter and Martin Buber’s idea that “all living is meeting”; the fundamentally disconnecting power of sin that works against the fully aliveness of truly meeting the other; including discussions of wrath or contempt that drives us toward violence; greed or avarice and the incessant insatiable accumulation of wealth; the attention-training benefits of gratitude and the identify forming power of our attention; throughout it all, working through the spiritual psychology of sin and topography of the soul—and the fact that we are, all of us, in Elizabeth’s words, “unutterably beloved.”

About Elizabeth Oldfield

Elizabeth Oldfield is a journalist, communicator, and author. She hosts a beautiful podcast called The Sacred. And she’s author of Fully Alive: Tending to the Soul in Turbulent Times. Follow her @esoldfield, and visit her website elizabetholdfield.com

Show Notes

- Intentional living community; pulling on monastic lifestyle and framework; read more about Elizabeth Oldfield’s micro-monastery here (https://www.thetimes.com/life-style/parenting/article/middle-class-commune-joint-accounts-noisy-sex-peckham-0jnhvhgmh ).
- People passing through the micro-monastery and the sharing of a meal and sitting in silence with others
- Celtic prayer book - The Aidan Compline (https://www.northumbriacommunity.org/offices/monday-the-aidan-compline/ )
- Fully Alive: Tending to the Soul in Turbulent Times by Elizabeth Oldfield (http://bakerpublishinggroup.com/books/fully-alive/421701 )
- How you see your liturgical life, the rhythms of your life however else you might describe you spirituality as providing the soil of this book?
- A personal writing experience - communicating something of her tradition with the outside world
- What it means to be fully alive to you?
- Everything is about relationships and connection; to be fully alive is to be fully connected with the soul
- Between Man and Man (https://www.routledge.com/Between-Man-and-Man/Buber/p/book/9780415278270 ) and I and Thou by Martin Buber - “all living is meeting” (https://www.maximusveritas.com/wp-content/uploads/2016/04/iandthou.pdf )
- If all living is meeting, how are we failing in that regard?
- Unapologetic: Why, Despite Everything, Christianity Can Still Make Surprising Emotional Sense by Francis Spufford (https://www.harpercollins.com/products/unapologetic-francis-spufford?variant=32207439626274 )
- Sin is disconnection; a turning inward
- “Elegy on the Lady Markham” by John Donne (https://www.poetrynook.com/poem/elegy-lady-markham-0 )
- “As I Walked Out One Evening” by W.H. Auden (https://poets.org/poem/i-walked-out-one-evening )
- The Sacred podcast (https://www.theosthinktank.co.uk/comment/2017/12/06/introducing-the-sacred-podcast )
- Polarization, division, and the splitting of people - homophily and fight or flight response
- Jesus going to the margins, ignoring tribal boundaries and turning the other cheek
- Sin and Reconciliation
- The Givenness of Things: Essays by Marilynne Robinson, “I find the soul a valuable concept, a statement of the dignity of human life” (https://www.brethrenpress.com/product_p/9781250097316.htm )
- The soul is interesting and difficult to name but is so valuable
- Room for uncertainty and poetry—we beat up our souls, keep ourselves distracted
- Contemporary life is angry and greedy
- Contempt is a poison for our souls and relationships and humanity
- Stress and anxiety as a constant
- Christian non-violence tradition
- We must feel our emotions - process them through the shared rituals of our communities
- Desire by Micheal O’Siadhail (https://www.baylorpress.com/9781481320061/desire/ )
- Would you like to introduce your take on greed?
- Phyllis Tickle, dogged commitment of the scripture - the love of money is the root of all evil
- The Parable of the Sower - Mark 4:19 (https://www.biblegateway.com/passage/?search=Mark4%3A19&version=NIV )
- Made gods of wealth, greed, comfort, and connivence
- Gratitude is a medicine for greed
- Of Gratitude by Thomas Traherne? (https://www.cambridge.org/core/books/abs/works-of-thomas-traherne-vii/of-gratitude/161CCCE8293EE4034F65AB436AB4D3F9 )
- “These are the Days We Prayed For” by Guvna B (https://genius.com/Guvna-b-these-are-the-days-lyrics )
- Notice and give thanks; misplaced desire
- Acadia, spiritual apathy, and heavy distraction
- Attention and discipline are formation
- The Anxious Generation: How the Great Rewiring of Childhood is Causing an Epidemic of Mental - Illness by Jonathan Haidt (https://www.anxiousgeneration.com/book )
- Community as accountability and rituals and set rhythms of life
- Divine Love, ultimate love
- Baptism as a reminder of our death - love remains
- Quiet space shared with others; honesty, vulnerability, emotional processing"]]></description>
<dc:subject>elizabetholdfield 2024 monasticism spirituality anxiety fear soul life living relationships connection sin reconciliation distraction gratitude christianity contempt greed avarice comfort connivance wealth discipline baptism love honesty vulnerability michaelo'siadhail intentionalcommunity nonviolence emotions phyllistickle prayer rhythms pace jesus christ marinbuber liturgy francisspufford johndunne whauden polarization division homophily silence quiet uncertainty poetry thomastraherne guvnab desire jonathanhaidt humanism outrage wrath anger empiness tribalism society divisiveness moralizing stress empathy curiosity offense grief grieving lament rage overwhelm evanrosa feelings therapy ritual hope cycles praise joy psychology wellness change parableofthesower climatechange accumulation consumerism falseidols shame shamelessness marilynnerobinson money enough simple simplicity slow small security stability steadiness jesuschrist</dc:subject>
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<item rdf:about="https://dougald.substack.com/p/what-art-is-not">
    <title>What Art Is Not - by Dougald Hine - Writing Home</title>
    <dc:date>2024-08-16T16:16:19+00:00</dc:date>
    <link>https://dougald.substack.com/p/what-art-is-not</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On what happens when artists are brought into projects about climate change"

...

"During the countdown to the paperback release of At Work in the Ruins, I want to pick out a few of the passages from the book that I hear people talk about the most. These are the stories, ideas or framings that are proving helpful to readers in their own work. Today, a passage about the role(s) of art under the shadow of climate change."

...

"Art is not a cheap alternative to an advertising agency or a sophisticated extension of the communications department, and the urgency of the message doesn’t change this."

...

"During 2015-16, I served as leader of artistic and audience development at Riksteatern, Sweden’s national theatre. The role didn’t exist before I was appointed and it doesn’t exist today. It came about because the incoming artistic director, Måns Lagerlöf, had read the Dark Mountain manifesto and been powerfully affected by it, and then discovered to his surprise that I had moved to Sweden. He brought me in to work at the core of his artistic team and part of my brief for those two years was to explore the role(s) of art under the shadow of climate change.

There are several places in At Work in the Ruins where I draw on what I learned in that process, but the passage that people have told me they find themselves returning to and using with students or in their own practice comes from part three of the book.

<blockquote>When artists are brought into projects about climate change, the assumption tends to be that they will make something that helps ‘deliver the message’. A poem, a play, a film, a pop song that will wake people up to the depth of the trouble we are in, that will stir people to action or bring about ‘behaviour change’. If this invitation is accepted, the result is usually a failure – both as art and as message delivery – because this is not how art works. As the Swedish playwright Anders Duus put it to me, ‘Our job is to complicate matters.’ Not to be difficult for the sake of it but to do justice to the strangeness and the messiness of life in a world like this, and to create the kind of space in which stories come alive. None of which is helpful if what you are looking for is a tool to get across a message. Art is not a cheap alternative to an advertising agency or a sophisticated extension of the communications department, and the urgency of the message doesn’t change this.

This doesn’t mean art can go on as if it doesn’t know, ignoring the smoke that drifts through the open window of the studio, pretending that the world is not on fire. In the conversations that led to the Dark Mountain manifesto, I remember a sense that those who came after us would look back on the art being made in our time with disbelief: how could we have made this stuff, given what we already knew about the trouble we were in?

There’s no single answer to the question of what art should do under the shadow of climate change – and besides, anything that’s worth the name of art is allergic to words like ‘should’. It takes a subtler kind of dialogue, an indirect approach, to stumble on the places where the work of art comes alive. Still, over the years, I began to gather a list of possibilities worth exploring. If our job is to complicate matters, then we could start with whatever seems to be getting taken for granted. Take this urge to get the message across. Is it really the case that people don’t have enough information about climate change? Or is it that we struggle to make sense of what this information means, to fit it into the frames we use to make sense of our lives? Art is not an information technology but it does have a knack of drawing our attention to these frames, bringing them into question, suggesting the possibility of other framings. In its attention to whatever is missing or taken for granted, art can lead us upstream.</blockquote>

This is as far as I take it in the book, but in an earlier essay I offered an unfinished list of the roles that art might play, picking up from the same line of thought:

<blockquote>1. Art can hold a space in which we move from the arm’s-length knowledge of facts, figures and projections, to the kind of knowledge that we let inside us, taking the risk that it may change us.

2. Art can give us just enough beauty to stay with the darkness, rather than flee or shut down.

3. Like the bronze shield given to Perseus by Athena, art and its indirect ways of knowing can allow us to approach realities which, if looked at directly, turn something inside us to stone.

4. Art can call us back from strategic calculations about which message will play best with which target group, insisting on the tricky need for honesty – there’s a line I kept coming back to, from the playwright Mark Ravenhill, that your responsibility when you walk on stage is to be ‘the most truthful person in the room’.

5. Art can teach us to live with uncertainty, to let go of our dreams of control.

6. Art can hold open a space of ambiguity, refusing the binary choices with which we are often presented – not least, the choice between forced optimism and simple despair.</blockquote>

I hope that At Work in the Ruins itself plays some of these roles for readers, in as much as it is possible to do so within the covers of a book. And I’m hugely grateful to Måns for his trust in bringing me to work with him at Riksteatern and to all the artists I got to work with during those two years."
]]></description>
<dc:subject>dougaldhine art climatechange 2024 uncertainty responsibility ads advertising knowing beauty darkness knowledge facts information andersuus</dc:subject>
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    <title>What Hannah Arendt proposed as an alternative to authenticity | Aeon Essays</title>
    <dc:date>2024-07-19T16:01:41+00:00</dc:date>
    <link>https://aeon.co/essays/what-hannah-arendt-proposed-as-an-alternative-to-authenticity</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In her final unfinished work, Hannah Arendt mounted an incisive critique of the idea that we are in search of our true selves"
]]></description>
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<item rdf:about="https://sarahendren.com/2024/05/20/an-unconditioned-whole/">
    <title>an unconditioned whole | sara hendren</title>
    <dc:date>2024-06-12T03:16:16+00:00</dc:date>
    <link>https://sarahendren.com/2024/05/20/an-unconditioned-whole/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am loving William Egginton’s The Rigor of Angels: Borges, Heisenberg, Kant, and the Ultimate Nature of Reality [https://www.penguinrandomhouse.com/books/678831/the-rigor-of-angels-by-william-egginton/ ], not least because I just finished making a film that’s partly about classical and quantum mechanics. Egginton unites these thinkers around their understanding of the limits of human knowledge — limits that are at the bedrock of making empirical sense of the world and, therefore, with implications for our existential movements through space, time, choices, relationships.

It’s incredibly moving to read how Einstein found Heisenberg’s uncertainty principle so challenging. He actively resisted and argued against it at length before finally accepting its claims. An intellectual giant, with his own famous formula that overturned Newton’s machinic universe — even he had trouble making peace with the profound contingency baked into our understanding of nature.

Here’s Egginton in a characteristically lucid explanation of the profundity of limitations:

<blockquote>In his influential treatise The Problems of Philosophy, the English philosopher and mathematician Bertrand Russell declared that the goal of philosophy was to free itself from the biases of individual perspectives and to see the world “as God might see, without a here and now, without hopes and fears…in the sole and exclusive desire of knowledge…as impersonal, as purely contemplative, as it is possible for man to attain.” But in practical terms, what would such a knowledge look like? The ideal of “seeing” the universe sub specie aeternitatis has existed for millenia, but those who have grappled deeply with this ideal have all tended to founder on the same shoal. As beings who must know the world in time and space, the notion of a knowledge unconstrained by time and space is quite simply inconceivable.

Take one metaphor for knowledge, that of sight. Sight grants us an image of the world, yes, but an exceedingly partial one. Not only do we see very few images in any given moment, but even when we envision an object, we can only ever do so one aspect at a time. Now try to generalize or expand on that ability. Even to stretch the visualization of a single object beyond a single facet quickly runs aground. What is a cube when simultaneously viewed from all six sides? We quickly see that freeing the constraints of our perspective in such a way doesn’t sharpen our understanding of the cube; instead, it obliterates it. Indeed, the very “cubeness” or “cubity” of the cube depends on our not being able to see more than three sides at a time. When we start to push the boundaries of this thought ever wider, this limitation becomes all the more apparent. Not only all visual discernment but every possible form of knowledge we can obtain about the world depends, radically and entirely, on its limitations in time and space. Seeing everything simultaneously or knowing all time in the blink of an eye would obliterate the very connection between objects and instances that constitutes knowing. Thus, although godlike knowledge in its ostensible freedom from bias may seem like a desirable goal, its realization even in theory leads to an absolute contradiction in terms.</blockquote>

And:

<blockquote>What I can know is always conditioned on an unconditioned whole that I must presume to exist but that remains unknowable. Put another way, the minimum condition of any experience whatsoever is not being a god, whether a god of very small things or of very large ones.</blockquote>

If more thinkers were willing, like Egginton, to extend and elucidate the philosophical implications of physics in the actual physics classroom, we’d quickly realize much more of the so-called interdisciplinarity that so many of us claim to want. But the mastery of calculations is just easier in the end. To take uncertainty seriously would cede too much ground to the humanist’s conundrum."

[See also this followup:
https://sarahendren.com/2024/05/20/twofold/ ]]]></description>
<dc:subject>sarahendren 2024 uncertaintyprinciple reality borges kant limitations uncertainty philosophy physics interdisciplinary interdisciplinarity knowledge quantummechanics science space time choices relationships wernerheisenberg alberteinstein sight allthesenses senses bertrandrussell williamegginton humans humanism immanuelkant quantumphysics quantumtheory</dc:subject>
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<item rdf:about="https://aworkinglibrary.com/writing/against-optimization">
    <title>Against optimization | A Working Library</title>
    <dc:date>2024-05-31T00:42:18+00:00</dc:date>
    <link>https://aworkinglibrary.com/writing/against-optimization</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["One of the most inescapable edicts when leading a team is the order to optimize the system towards the organization’s goals. It comes up across industries and at every conceivable stage of an organization, whether an early-stage startup optimizing for experimentation or a later-stage group optimizing for growth or an aged institution optimizing for preserving revenue. There’s an always-on assumption that there are still yet more efficiencies to be found, if we go looking for them, still yet more ways to hone the team’s focus, to turn laser-eyed onto whatever it is the executive team has deemed most necessary and then light that thing up.

But what happens when those optimization efforts collide with an unpredictable environment?

<blockquote>But you can’t optimize systems in a context that’s changing, especially if it’s changing in unpredictable ways. Removing inefficiencies when circumstances are as anticipated means that there isn’t much slack in the system to respond when the unanticipated happens. Optimization is intrinsically brittle, because it’s about closely matching the output to the conditions, which means it’s vulnerable if those conditions change. What we’ll need from our infrastructural systems, more and more, is for them to be resilient, able to absorb uncertainty and changing circumstances either without failing or by failing gracefully and reversibly, rather than unexpectedly or catastrophically.</blockquote>

(Emphasis mine.) Chachra is talking about our collective, public infrastructure here—think of the systems that bring water and electricity to our homes—but I will take the message more generally and argue that this conceptualization of optimization applies also to the evergreen calls for managers to optimize their team’s output and to the likewise frequent orders for us to all optimize our own lives. The problem (or at least one of the problems) is that the twin edicts to simultaneously optimize your team and life and to be flexible in light of an uncertain future are in opposition to each other. Optimization presumes a kind of certainty about the circumstances one is optimizing for, but that certainty is, more often than not, illusory. Here’s Chachra, again:

<blockquote>Making systems resilient is fundamentally at odds with optimization, because optimizing a system means taking out any slack. A truly optimized, and thus efficient, system is only possible with near-perfect knowledge about the system, together with the ability to observe and implement a response. For a system to be reliable, on the other hand, there have to be some unused resources to draw on when the unexpected happens, which, well, happens predictably.</blockquote>

Another way to look at this is that you cannot optimize for resilience. Resilience requires a kind of elasticity, an ability to stretch and reach but then to return, to spring back into a former shape—or perhaps to shapeshift into something new if the circumstances require it. Resilience is stretchy where optimization is brittle; resilience invites change where optimization demands continuity. But whether we’re talking about our public infrastructure or our workplaces, our streets or our lives, it’s change we need to be ready for. Whatever is ahead for us, it’s not more of the same."]]></description>
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<item rdf:about="https://alaskarivertime.org/Clock">
    <title>Alaska RiverTime</title>
    <dc:date>2024-04-16T21:16:13+00:00</dc:date>
    <link>https://alaskarivertime.org/Clock</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[See also:

"A Revolution in Time
Why clocks need to follow the tempo of nature."
https://nautil.us/a-revolution-in-time-544416/

https://vimeo.com/460255371 ]

"Sourcing the Future in Nature

Standard time is measured by atomic clocks, providing a technical basis for global transactions independent of the environment in which we live. Rivers offer an alternative. Monitoring their natural flow makes us more attentive to ground conditions. Spanning deep time and changing with the seasons, they’re a meaningful source of ecological wisdom — today and tomorrow.

Alaska River Time engages a network of glacial and spring rivers to regulate a new kind of clock, which speeds up and slows down with the waters. The clock can be used to recalibrate all aspects of life from work schedules to personal relationships.

River Time is applicable locally and globally, a new standard of ground truth that will be increasingly relevant as we reinforce and reimagine our relationships with the natural world.

River Time is a creative work by Jonathon Keats. Keats is an experimental philosopher, artist and writer. He creates conceptually driven interdisciplinary art projects that pose questions about the Universe.

Standard time is measured by atomic clocks, providing a technical basis for global transactions independent of the environment in which we live. Rivers offer an alternative. Monitoring their natural flow makes us more attentive to ground conditions. Spanning deep time and changing with the seasons, they’re a meaningful source of ecological wisdom — today and tomorrow.

Calculating River Time

River time is calculated by comparing the current flow of a stream against its long-term historical (11 - 73 year) average flow. If the current flow is faster than the historical average, river time runs faster than standard time, and if the flow is slower than the historical average, river time runs slower.

For example, if the historical average for a stream is 1000 cubic feet per second (cfs) and the current flow is 1200 cfs (20% more water volumne), then 60 seconds of river time will be equal to 50 seconds of standard time (time running 20% faster). The same stream, flowing at a rate of 400 cfs (60% slower) would result in river time running 60% slower than standard time, and 60 seconds of river time would equal 150 seconds of standard time.

During winter months, flow tends to be significantly lower due to lower temperatures, with the stream water freezing, precipitation falling as snow rather than rain, and little or no glacial melting, with a corresponding slowdown of river time. In warmer summer months, melting snow and glacial ice, and preciptation falling as rain dramatically increase the flow, and river time speeds up.

The calculation of Alaska river time began on January 1, 2020, and over the course of a year, if the streams flow averages out to the historical annual flow, river time will also average out to standard time: falling behind during winter months, and catching up again during summer. However, if weather (increased rainfall, drought, etc.) and climate (changing average temperature, shifting weather patterns, etc.) changes occur, river time will drift away from standard time, falling ahead or behind over the years.

Alaska mean river time is calculated by combining the river time rates of Ship Creek, Campbell Creek, Knik River, Matanuska River and Susitna River to generate an average time affected by the unique characteristics of each stream. Flow data for each stream is gathered from gauges maintained by the U.S. Geological Survery (USGS), with measurements reported every 15-30 minutes on the USGS Water Data website, and is used to calculate the river time for each individual river, plus a combined Alaska mean river time with each stream given equal weight.

SEED Lab

Alaska River Time is a project of the Anchorage Museum and its SEED Lab. It is part of a series of public artworks that examine future + climate and connections to the natural world through art and design.

SEED Lab is a space and a way of thinking, creating and convening, seeking creative and critical ways of responding to climate change. We host conversations and organize a series of public art projects.

For more information about how to get involved or collaborate on a project or event, contact us at seed@anchoragemuseum.org. For information about public events held at or with SEED Lab, follow us on Instagram or check the Museum calendar at https://www.anchoragemuseum.org/visit/calendar/.

SEED Lab is one of five winners of the Bloomberg Philanthropies Public Art Challenge. The Municipality of Anchorage is a partner with the Anchorage Museum to create public art that explores pressing social issues."]]></description>
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<item rdf:about="https://aeon.co/essays/my-grandfather-paul-tillich-the-unbelieving-theologian">
    <title>My grandfather Paul Tillich, the unbelieving theologian | Aeon Essays</title>
    <dc:date>2024-03-27T05:50:18+00:00</dc:date>
    <link>https://aeon.co/essays/my-grandfather-paul-tillich-the-unbelieving-theologian</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Paul Tillich was a religious socialist and a profoundly subtle theologian who placed doubt at the centre of his thought"]]></description>
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<item rdf:about="https://unherd.com/2023/01/can-gratitude-save-humanity/">
    <title>Can gratitude save humanity? - UnHerd</title>
    <dc:date>2024-03-25T21:26:42+00:00</dc:date>
    <link>https://unherd.com/2023/01/can-gratitude-save-humanity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["To surf is to understand the world's gifts"]]></description>
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<item rdf:about="https://www.theatlantic.com/family/archive/2024/02/montessori-parenting-advice/677568/">
    <title>The Fairy-Tale Promises of Montessori Parenting - The Atlantic</title>
    <dc:date>2024-03-04T08:27:44+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["No matter how hard you work to organize a playroom, you can’t eliminate chaos or uncertainty from the task of raising kids."]]></description>
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<item rdf:about="https://everythingchanges.us/blog/look-to-your-neighbors/">
    <title>Look to your neighbors | everything changes</title>
    <dc:date>2024-02-20T18:32:46+00:00</dc:date>
    <link>https://everythingchanges.us/blog/look-to-your-neighbors/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["LAST SUMMER, Bill McKibben wrote [https://billmckibben.substack.com/p/where-should-i-live ] about a question he often hears from people worried about climate change: where should I live? McKibben acknowledges the privilege that accompanies such a query—a great many people have no ability to choose where to live, and must face whatever the climate throws at them wherever they happen to be. But it’s also not an unreasonable thing to consider. For those of us with the means to move, there are good reasons to choose some places over others, to begin to accept that climate change is already asking us to cede some land to the sun and the sea.

And yet, he quickly quashes the notion that there’s anywhere we can go to just ride out what’s coming, to experience climate change only from a distance. “There is no safe place,” he says unequivocally. What matters isn’t so much where we end up but with whom. He continues:

<blockquote>We’ve come through 75 years where having neighbors was essentially optional: if you had a credit card, you could get everything you needed to survive dropped off at your front door. But the next 75 years aren’t going to be like that; we’re going to need to return to the basic human experience of relying on the people around you.</blockquote>

This has been on my mind as I talk to folks who are contemplating a change in their work, and wondering about a related question: where should I work? Most people can name a few places where they know enough about the ground conditions to dismiss it as a possibility—places that are too hot or too toxic or where the risk of floods and storms is far too high. But then I watch as they scan all the other locales and contemplate if any of them are safe, or see their face fall as they imagine how to evaluate the relative safety of one place over another.

We’ve all either lived long enough to experience more than one unsafe workplace, or else we’ve heard the stories from our elders. Even the seemingly healthy places aren’t immutable, aren’t immune to the rigors of capitalism and investor brain worms. You might find that the flexible, friendly atmosphere evaporates the moment the c-suite sees clouds in the market. You might show up one day to discover that your boss has been replaced by three interest rates in a trench coat mumbling about declining productivity. You might find that you are the boss reading from a script about severance while your soul scrambles to exit your body. (I know, because I’ve been there.) You might suddenly realize that the product you were eager to work on is actually doing more harm than good, or that the fundraisers are using your org to launder filthy reputations. You might despair when you realize that the path to changing things for the better is guarded by a coterie of demons cloaked as financial instruments.

I’m inclined to agree with McKibben: no place is safe.

And yet. We can return to the basic human experience of relying on the people around us. We can get to know our neighbors and colleagues and users; we can orient our work and our lives towards them and away from the inhuman and unliving systems that want us to behave like machines. We may not be able to stop a storm from coming, but we can get together to line up sandbags and buckets, to organize mutual aid, to create places for people to talk and share their needs, to laugh and cry and howl at each clap of thunder. We may not be able to stop a layoff or exorcise the CFO but we can sure as hell take care of each other.

This is where I’m wont to say you deserve a union, and that’s true. But even more than that, you deserve to be fully human, interdependent with the people around you and the more-than-human world. The greatest lie that capitalism ever told was that risk is a solitary affair. But we can never bear the risks of work (or climate change) on our own, because we have never actually been alone.

What I’ve learned, over and over in my own work and with the people I work with, is that the only thing that saves us from uncertain and capricious futures is each other. This is not to say that you shouldn’t contemplate where you want to work, any less than you should consider where you want to live. It is to say that with whom is the more important question. It is to say that asking how do you want to be? may be the trick that gets you past the demons at the head of the path. Those demons are expecting you to show up head bowed and alone, because alone they know how to deter you. But just watch what happens when you show up with a crowd."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=ohsQ3WtdWoM">
    <title>&quot;Writing should give access to the world.&quot; | Writer Benjamín Labatut | Louisiana Channel - YouTube</title>
    <dc:date>2024-02-01T02:44:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ohsQ3WtdWoM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""We live in a world that is bigger than us. It can be terrifying, but it is also inspiring. We cannot survive without mysteries. Mysteries are more important than truth. Writing should give access to the world and at the same time darken it for you so that it becomes mysterious again", says the celebrated Chilean writer Benjamín Labatut in this interview.
 
"Literature and science are two of the ways in which we build our sense of the world. Literature is like an older crazy sister of science because it is disorganized. It is not tied down to any set of ideas of the truth so that it can consider anything, and in that sense, it has a freedom that science can't aspire to. I think of literature as a science that really cares about experiments, you can consider the wildest ideas, and you can play with theories that are wrong, that are delirious and insane." 

"Literature has no power at all, and because of that, it is very precious because we can play with ideas that contradict self-evident meanings in the world, and that is a great source of beauty and inspiration. It is a great source of fun, too. "

"You are never just looking at a flower. You look at a flower and have an emotional tone and are contaminated by your other senses, memories biting at you. It is very hard to give any measure about what it feels like to be alive from moment to moment. It is not realism. Our experience of the world is not realistic at all. It is hallucinatory. That is kind of what literature should mirror."

"Beauty is the most important thing there is. I think the truth is completely secondary. Life and beauty are completely intertwined, and we don't realize it. We don't understand that it is something that was here before us. We are just interacting with some of its versions. It is not just in the flowers but also beneath the ground, in the dirt; it is everywhere. It is the universe being in love with itself." 

"I am fascinated by singularities, things that lie outside the regular order. Exceptions of all kinds, one of the things that I get angry about is the modern depreciation of the word genius. As if everybody were the same and it is not like that at all:

One of the great things about being human is how different we are. And there are these outliers, men, and women that really seem to come from another world. They suffer for it too," Labatut says, referring to his novel 'When We Cease to Understand the World', which presents scientists who made great discoveries and failed in other ways. "Because it is very dangerous to suddenly discover something new about ourselves, going a step beyond. You fall into the really strange space, like colonizing new territories, which is dangerous, but to me, it is fascinating. Were it not for these strange, unique beings; we would not have gone very far. We still need this exceptionality. "

Benjamín Labatut is a Chilean author born in Rotterdam, The Netherlands, in 1980. He spent his childhood in The Hague, Buenos Aires, and Lima, before settling in Chile, where he currently lives and works. His first book of short stories, 'Antarctica starts here', won the 2009 Caza de Letras Prize in Mexico, and the Santiago Municipal Prize, in Chile. His second book, 'After the Light', consists of a series of scientific, philosophical, and historical notes on the void, written after a deep personal crisis. His third book, 'When We Cease to Understand the World' has been translated to more than 20 languages. The English edition of the book was shortlisted for the International Booker Prize in 2021. In July 2021, Barack Obama included the book in his last reading list for the summer, which Obama shared on his Twitter account. It was selected for the New York Times Book Review's "10 Best Books of 2021" list. 


Benjamín Labatut was interviewed by his Danish translator Peter Adolphsen in connection with the Louisiana Literature festival in August 2022 at the Louisiana Museum of Modern Art in Denmark."

[also here:
https://vimeo.com/751808996 
https://channel.louisiana.dk/video/benjam%c3%adn-labatut-writing-outside-the-regular-order

goes with another video:

""Anything that comes out of a writer is fiction." | Writer Benjamín Labatut" 
https://www.youtube.com/watch?v=E-OFnHwuTBg ]]]></description>
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<item rdf:about="https://slate.com/technology/2024/01/stanley-cup-tumbler-reusable-water-bottle-target.html">
    <title>Stanley cup: What is the craze really about? It's not hydration.</title>
    <dc:date>2024-01-27T21:02:24+00:00</dc:date>
    <link>https://slate.com/technology/2024/01/stanley-cup-tumbler-reusable-water-bottle-target.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The Stanley Quencher H2.0, which has been trending on TikTok and inspiring stampedes at Target, is a quintessentially American vessel: great for people who love ice, who drive cars, or who are Just Too Busy to refill a smaller cup throughout the day. Until my editor asked me, in the wake of the craze, if I had “a reusable water bottle philosophy”—I write about climate change—I knew nothing about the Stanley.

Friends filled me in: The insulated walls keep the contents cold all day. The base fits in cupholders; the handle makes it easier to sip from a heavy thermos while multitasking. A standard Stanley cup holds 40 ounces and runs $45. As my sister-in-law explained, it’s the expensive, brand-name version of a cup she got from Costco. “Except it’s been cult-ified,” she said. It’s basically a Big Gulp with a glow-up.

On the one hand, good: A reusable cup is better than going through endless plastic bottles, cups, and straws. There are worse things than Americans getting really into fancy water bottles. A status symbol that comes with a lifetime warranty—that feels hopeful for the planet.

But, of course, people aren’t just buying one and using it for life. To keep plastic out of oceans and to cut carbon emissions, reusable cups need to be used and reused, again and again, not hauled around for a season or two (or paired with an outfit) and then relegated to the back of the cupboard when a new model becomes hot. (Remember S’well?)

Water bottle brands are fads. My reusable water bottle philosophy, if I have one, is that the best water bottle is the one you already have. That’s what’s good for the planet. But what reusable water bottles have become in our culture is very much not about environmentalism. They don’t fly off shelves because we care about plastic-free oceans, but, as with any fad, because we want to fit in. For this fad in particular, there’s also something else going on: Water bottles play to our thirst for perfect hydration.

Hydration, we’ve been told, is the answer to just about everything. In addition to keeping us alive, water helps us detox, supports glowy #cleangirl skin, and keeps us focused. Being hydrated gives us a competitive edge. Planners and habit apps help us diligently track eight glasses a day or more. We cannot, the ethos goes, be trusted to get enough water into our bodies on our own. We require help, and fancy tools.

As Slate’s Decoder Ring explored in a 2021 episode titled “The Invention of Hydration,” the fear that we might not be getting enough water was first popularized to help sell Gatorade. It was perfected to sell bottled water; today it helps move various reusable bottles off the shelves, from Stanleys to the Yetis that were in vogue before them, to “motivational” bottles that cheerfully encourage you to keep drinking water.

Getting enough water is not nearly as hard as we think. Humans obviously need water to survive. But the inherited wisdom—drink eight, 8-ounce glasses of water a day (about one and a half 40-ounce Stanleys)—is misleading. It comes from a 1945 recommendation for someone with a 2,000-calorie diet. But it includes water from all kinds of food and drinks: Downing eight glasses of straight water a day was never actually the goal.

Foods like watermelon and soup help us hydrate; so do less obvious things, like spinach. According to a 2022 paper, food might fill 20 to 50 percent of our daily hydration need. Coffee and tea also count. A 2014 study found that for coffee drinkers who were used to having caffeine in their systems, coffee was just as hydrating as water (the diuretic effect may negatively impact hydration if you drink a lot of coffee, or if you aren’t used to drinking any coffee at all).

While water bottles nudge us to imagine hydration as an individual responsibility, coffee and tea remind us that it can be a social joy. The coffee klatch, the afternoon cuppa; traditionally, hydration has been a byproduct not of careful management, but of quality time. Maybe you don’t need another water bottle. Maybe what you actually need is a tea kettle—or a workplace where people have time to take breaks. (Unsurprisingly, hospital workers see themselves as water bottle trend bellwethers.)

Of course, many people do need lots of water to be hydrated—and are perfectly justified in toting it around. Gender, body composition, and age all change how much we should drink; so does anything that makes us work harder: exercising, fighting infections, or sweating to cool down. Nursing moms (another early Stanley cup market) typically drink more water than they did prior to nursing. Where dehydration is a real threat is for farm workers, particularly as global temperatures heat up.

As it turns out, drinking when you feel thirsty, as long as you aren’t drinking something super sugary, is a pretty good way to stay about as hydrated as you need to be. No complicated calculations needed. Pause and notice your body; then pause and take care of your needs. If another reusable water bottle is helpful for meeting those needs—get one. Ideally at a thrift store.

But the reusable water bottle craze is not just about our physical needs. Achieving peak hydration offers a sense of control in an uncertain world. Emotional Support Water Bottles can serve as psychological ballasts. When we feel insecure—whether we fear layoffs or a shifting of the social winds or the climate apocalypse—humans have an uncanny ability to allow objects to fill the void. You don’t need a new water bottle. You don’t need to overhydrate to be great. But you do deserve to feel safe. The better we get at supporting each other, the more resilient we will be when the next water bottle fad arrives."

[See also:

"I Spent a Week Parading My Coveted Stanley Cup Around New York City
It did not go as planned."
https://slate.com/human-interest/2024/01/stanley-cup-pink-target-40-ounce-theft-new-year-starbucks.html

"The viral cups that people are fighting each other over contain lead.Stanley, the maker of the obscenely large adult sippy cups that people are going feral over, confirms that yes, one part of the cups is made with lead — but that exposure to it would be “rare.” Lead in drinking cups has been a problem with other brands’ products in the past.

Some background: people are stockpiling Stanley cups in a rainbow of colors. They’re losing their jobs at Target for these things. There are Stanley cup flippers who buy up limited edition colors and sell them for $200 on Facebook Marketplace. I have a feeling the lead will not dissuade the fans."
https://www.theverge.com/2024/1/26/24052103/the-viral-cups-that-people-are-fighting-each-other-over-contain-lead

"Do Stanley cups contain lead or pose a risk of lead poisoning? Experts weigh in
Recently, multiple social media users have posted about concerns that drinking from Stanley mugs poses a lead exposure risk. But is that true? Here’s what to know."\
https://www.nbcnews.com/health/health-news/stanley-cups-contain-lead-pose-risk-lead-poisoning-experts-weigh-rcna135584

"Even Honey Bears Now Carry Stanley Cups: Controversial Street Artist Fnnch Reveals a New Muse"
https://sfstandard.com/2024/01/25/san-francisco-street-artist-fnnch-has-new-stanley-tumbler-series/ ]]]></description>
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<item rdf:about="https://post45.org/2024/01/in-search-of-anti-work-time-mapping-the-anti-serial-impulse/">
    <title>In Search of Anti-Work Time: Mapping the Anti-Serial Impulse - Post45</title>
    <dc:date>2024-01-12T16:26:14+00:00</dc:date>
    <link>https://post45.org/2024/01/in-search-of-anti-work-time-mapping-the-anti-serial-impulse/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Described here:
https://post45.org/sections/contemporaries-essays/anti-work-aesthetics/
https://post45.org/2024/01/introduction-anti-work-aesthetics/

"And finally, Madeline Lane-McKinley takes on serialized TV as a correlate to the never-endingness of work and social reproduction. She addresses the anti-serial temporalities of recent shows such as Reservation Dogs and Russian Doll as examples of disruption to this seamless continuity of work, pointing to a horizon of work refusal as they displace narratives of individual, linear progress with meandering explorations of wandering and collectivity. Rather than fantasizing escape from the serial logic of work, she suggests, these deft representations confront the totalizing work ethic of our everyday lives."]]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=uQiM4xKIoiY">
    <title>Rethinking Economics and (maybe) Rethinking China - YouTube</title>
    <dc:date>2023-07-08T23:27:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=uQiM4xKIoiY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Yuan Yang is the Financial Times' Europe-China correspondent and a founding member of Rethinking Economics (RE). We will aim to talk about both RE and China, but I will prioritise the former.

https://www.ft.com/yuan-yang "]]></description>
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<item rdf:about="https://twitter.com/Rainmaker1973/status/1637177203405344770">
    <title>Massimo on Twitter: &quot;The public has a distorted view of science because children are taught in school that science is a collection of firmly established truths. In fact, science is not a collection of truths. It is a continuing exploration of mysteries.&quot; </title>
    <dc:date>2023-06-18T20:50:36+00:00</dc:date>
    <link>https://twitter.com/Rainmaker1973/status/1637177203405344770</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The public has a distorted view of science because children are taught in school that science is a collection of firmly established truths. In fact, science is not a collection of truths. It is a continuing exploration of mysteries." — Freeman Dyson]]></description>
<dc:subject>freemandyson science truth truths mysteries curiosity education schools schooling children howwelearn knowledge knowing schooliness unschooling deschooling certainty uncertainty</dc:subject>
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<item rdf:about="https://www.publicbooks.org/neoliberal-keywords-creative-passionate-confident/">
    <title>Neoliberal Keywords: Creative, Passionate, Confident - Public Books</title>
    <dc:date>2023-06-13T20:29:05+00:00</dc:date>
    <link>https://www.publicbooks.org/neoliberal-keywords-creative-passionate-confident/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some recent dispatches from my university inbox:

<blockquote>Everything Is Fine: A Toolkit for Surviving and Thriving in Grad School … 

Register for our Empowered Educator Online Conference … Leverage technology to increase students’ digital literacy and career readiness … 

The most important thing you will do in this role (and maybe your entire career!) is be a part of building the future of education for your area of domain expertise. You will design a program to teach traditional school subjects but in a non-traditional way. If you are a passionate subject matter expert who believes that technology—not teachers—is the key to unlocking students’ full learning potential, then this job is for you.</blockquote>

There is something so banal, even embarrassing, in the aggressive positivity and predictable cant of these emails. Such exhortations have become ubiquitous on the corporatized university campus, where a diverse cast of players—administrators, student clubs, brand ambassadors, Christian ministries, military recruiters, corporate employers, fitness organizations, test prep companies—coalesce around a shared set of keywords. But when did we all become so empowered, passionate, and self-enterprising? And how did having those qualities get to be so important?

Three new books address those questions, each dismantling a core myth of neoliberal discourse. In The Cult of Creativity: A Surprisingly Recent History, Samuel W. Franklin uncovers the contemporary premium placed on “creativity” as a product of postwar US anxiety. Passionate Work: Endurance After the Good Life, by Renyi Hong, critiques the contemporary idea of “passion” for one’s work as an affective tool for managing the disappointments, alienation, and injustices of labor under late capitalism. And in Confidence Culture, Shani Orgad and Rosalind Gill contend that the contemporary discourse of self-empowerment directed at women—both a “culture” and a “cult”—represents a neoliberal strand of feminism that makes the individual responsible for improving her own circumstances rather than addressing systemic and institutional injustices.

Together, these books provide historical context for some of neoliberalism’s most persistent idioms: grit, resilience, initiative, innovation, positive mindset, and self-improvement. The books also remind us of the stakes of language in all this. When we continue to rely on such keywords, we obscure the structural reality—and political urgency—of issues like worker precarity and widening economic inequality. Our linguistic repetition reinforces the unquestioned “truth” of the words themselves, and we thus naturalize political problems as personal ones."]]></description>
<dc:subject>language highered highereducation education 2023 creativity labor positivity neoliberalism precarity work grit resilience initiative innovation positivemindset mindset self-improvement ianarobitaille samuelfranklin renyihong shaniorgad rosalindgill anxiety capitalism copropratization universities colleges administration management keywords discourse rhetoric passion confidence culture disappointment alienation injustice latecapitalism rossalindgill self-empowerment women gender cults feminism individualism systems systemicinjustice institutions growth growthmindset structures reality politics urgency inequality linguistics truth ubiquity business psychology academia policy collusion industry ideology workplace us coldwar joypaulguilford calvintaylor economics lifestyle labororganizing eugenics aesthetics equity williamshockley davidogilvy belllabs entrepreneurialism progress class classdistinction technology autonomy fulfillment leisure workculture exploitation emotionalfulfillment cynicism uncertainty depri</dc:subject>
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<item rdf:about="https://tricycle.org/magazine/buddhism-without-beliefs/">
    <title>Buddhism Without Beliefs - Tricycle: The Buddhist Review</title>
    <dc:date>2023-06-04T20:45:52+00:00</dc:date>
    <link>https://tricycle.org/magazine/buddhism-without-beliefs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stephen Batchelor’s new book proposes a profound and passionate agnosticism as an authentic approach to dharma."

> "This is not a process of self- or world-transcendence, but one of self- and world-creation."

[via: https://www.robinsloan.com/newsletters/lit-up-like-a-sparkler/ ]]]></description>
<dc:subject>buddhism belief unknowing notknowing ignorance 1997 stephenbatchelor agnosticism dharma humility knowledge religion faith learning zen buddha transiency transience science scientism ambiguity worldview change conformism tradition orthodoxy freedom engagement unfinished ongoing absorption exploitation insecurity disorder aimlessness refuge creativity imagination conservatism institutions autonomy greed adaptability flexibility lightnessoftouch canon living life responsibility individualism transcendence nirvana compassion commitment accomplishment praxis consolation confrontation practice skepticism religiosity anguish isms socrates philosophy method reason certainty uncertainty thhuxley consumerism atheism creeds creed secularism worship idols anarchism anarchy elites elitism monks experts expertise history politics autocracies community environment security structure fear aggression changemaking utopia direction totalitarianism action peace peacefulness self-creation mind siddharthagautama awakening problems</dc:subject>
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    <title>Benjamín Labatut interview: When We Cease to Understand the World - Vox</title>
    <dc:date>2022-07-14T16:08:20+00:00</dc:date>
    <link>https://www.vox.com/culture/23005220/benjamin-labatut-interview-when-we-cease-to-understand-the-world</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Benjamín Labatut’s When We Cease to Understand the World is one of the weirdest and most beautiful books I’ve read in a while. It deals with the horror of trying to understand the world, and how as the scientific concepts we use to try to describe reality edge closer and closer to reality, they move further away from the mundane world that we see and live in with our small human senses.

We think that we live in a world where space and time function in predictable and rational ways. But physics tells us that the universe is full of black holes that exist at both sides of time, and that on a quantum level, mass exists not as a concrete fact but as a possibility. How, When We Cease to Understand the World seems to ask, do we just live in a world that functions like this?

These are rich, heady questions, and they’re hard to parse out with any degree of nuance. So I met Labatut live on Zoom to talk them through, and then some. In our full (captioned) conversation above, you can learn why Labatut considers himself an “epiphany junkie,” the limitations he sees in science, and why he hates the novel.

A few weeks later, I sat down with Unexplainable host Noam Hassenfeld to further discuss Labutut’s book and the aftershocks of the revelation, asking “What’s real?” Listen to the conversation in the player below or wherever you get podcasts."

[See also:
https://www.vox.com/culture/22972613/when-we-cease-to-understand-the-world-review-benjamin-labatut ]]]></description>
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<item rdf:about="https://www.latimes.com/entertainment-arts/newsletter/2022-07-09/benjamin-labatut-when-we-cease-to-understand-the-world-novel-essential-arts">
    <title>A novel by Benjamín Labatut explores the dark side of science — and the color blue - Los Angeles Times</title>
    <dc:date>2022-07-14T15:55:06+00:00</dc:date>
    <link>https://www.latimes.com/entertainment-arts/newsletter/2022-07-09/benjamin-labatut-when-we-cease-to-understand-the-world-novel-essential-arts</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Blue has sent me down a rabbit hole. Specifically, Prussian blue, which appears as a silent, deadly character in Benjamín Labatut’s 2020 novel, “When We Cease to Understand the World.”

This slender volume — it is only 192 pages long — weaves together, in engrossing and disquieting ways, stories of scientific discovery. They are stories rife with obsession in the pursuit of knowledge but also the devastating ways in which that knowledge is ultimately deployed.

Hence, a chapter that takes the reader into the history of Prussian blue, the first modern synthetic pigment, created by Johann Jacob Diesbach in the early 18th century — which critically provided a stable source of blue for European artists at a time when blue pigments were wildly expensive and difficult to source. (These were generally derived from natural materials such as lapis lazuli, which had to be imported from Afghanistan.)

Prussian blue, also known as Berlin blue, after the city in which it was devised, makes its earliest known appearance in an early 18th century painting titled “The Entombment of Christ,” by Adriaen or Pieter van der Werff — in which the Virgin Mary’s luminous blue mantle catches the eye amid a palette of earthier, fleshier tones. (The painting’s attributions vary depending on the source, likely because the Van Der Werffs were brothers, with Pieter working in Adriaen’s studio, where he often made copies of existing works. As a result, different versions of this scene, under Adriaen’s name, appear in different European collections. In his novel, Labatut attributes the work to Pieter.)

Regardless of who painted what, by the 19th century, Prussian blue had developed an artistic fan base as far away as Japan, where artists such as Hokusai used it in landscape prints such as his iconic “Great Wave Off Kanagawa.” (The version seen above is from the permanent collection at the Los Angeles County Museum of Art.)

And that’s just the beginning of the story for Prussian blue. Because when it’s combined with diluted sulfuric acid, it turns into hydrogen cyanide, otherwise known as cyanide, one of the deadliest poisons known to man. (“Cyan” is a reference to its origin as a blue pigment.) It is one of humanity’s more devastating inventions — a commercial version of cyanide, Zyklon B, was deployed by the Nazis in their genocide chambers.

Prussian blue, writes Labatut, is “the blue that shines not only in Van Gogh’s ‘Starry Night’ and in the water of Hokusai’s ‘Great Wave,’ but also on the uniforms of the infantrymen of the Prussian army, as though something in the colour’s chemical structure involved violence: a fault, a shadow, an existential station passed down from those experiments in which the alchemist dismembered living animals to create it, assembling their broken bodies in dreadful chimeras.”

“When We Cease to Understand the World” is inspired by scientific history, but it is not a straight historical account. It is a novel. And if at first it reads like a collection of essays about the history of science, as the book progresses, it expands into more metaphysical and mystical spaces — all of which are ultimately woven together with the appearance of a mysterious character called “the night gardener.”

Critic John Banville, in the Guardian, described the book as a “nonfiction novel.” I think of it more as a dramatization, in novel form, inspired by real events. However you choose to categorize it, the book functions as a series of linked meditations on the nature of discovery and what it means to confront that which we do not — and cannot — know. Over five spare but poetic chapters, Labatut covers color and mass death. He also writes about the singularity and black holes, along with the scientists who aimed to quantify these phenomena.

Labatut, a Chilean writer of Dutch descent, originally published the novel in Spanish in 2020 as “Un Verdor Terrible.” Last fall, New York Review Books released an English-language translation by Adrian Nathan West. It quickly materialized on former President Obama’s list of summer reads. It was also shortlisted for the International Booker Prize and the National Book Award for Translated Literature.

I’ll confess that I knew little about Labatut or the book when I picked it up shortly before going on vacation. It was an impulse buy: I was intrigued by its scientific inspirations and the odd, diagrammatic nature of the cover. But I quickly found myself engrossed by the story it presents — of men who compulsively race to decode the workings of nature only to face chaos, violence and uncertainty.

We look to science for answers, but sometimes all we find is ourselves."]]></description>
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