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    <title>What does it really mean to have a moment of insight? | Psyche Notes to Self</title>
    <dc:date>2026-06-26T11:52:31+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["What moments of insight have in common

What is an ‘insight’? They tend to be thought of as moments of realisation in which all the discombobulated pieces suddenly snap into place and a fresh coherence emerges. These can be high stakes or low; usage of the word stretches from the quotidian to the earth-shattering. Understanding why a friend of mine is habitually late is an ‘insight’ – but so too are epochal revolutions in thinking, those storied moments when great minds reveal hidden connections.

One of the most tragic and romantic insights I’ve read is in Marcel Proust’s novel In Search of Lost Time (1913-27), when Charles Swann sees in the face of the courtesan Odette the unspeakably beautiful Botticelli painting of Zipporah, whose ‘similarity enhanced her beauty also, and rendered her more precious’. On the basis of this insight – that Odette is as beguiling as any immortal artwork – Swann falls desperately in love. But this later leads to another, more brutal insight: that he never fell in love with Odette herself, but only her artistic likeness. Such, in Proust’s cynical suggestion, is often the nature of love.

Reflecting on scientific insights, the physicist John Ziman wrote that they depend on finding the similarities between different things: ‘the random configuration of the long chain of atoms in a polymer molecule is “like” the motion of a drunkard across a village green.’ This is a stimulating insight about insights, which also sheds light on Swann’s insight: though they can involve many kinds of perspective shifts, the common denominator is that we notice likenesses where before we saw none – and from that new connection, we see new meaning. But an insight, however invigorating, may always prove to be less than we had hoped: Swann saw a likeness, and that was an insight that cost him everything."]]></description>
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<item rdf:about="https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438">
    <title>Pope Leo XIV's 'Magnifica humanitas' (with Jack Hanson) - Know Your Enemy - Apple Podcasts</title>
    <dc:date>2026-06-26T08:30:11+00:00</dc:date>
    <link>https://podcasts.apple.com/us/podcast/pope-leo-xivs-magnifica-humanitas-w-jack-hanson/id1462703434?i=1000773716438</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://dissentmagazine.org/online_articles/know-your-enemy-pope-leo-xiv-magnifica-humanitas/ ]

"As promised, here is our episode about Pope Leo XIV's recent encyclical, Magnifica humanitas, in which he brings to bear Catholic social teaching on the perils of artificial intelligence and what they reveal about what it really means to be human being. It's a distinctly Augustinian reading of our nature and destiny, marked not just by Leo's attention to our limits as flawed and fallible creatures, but the joy and hope found by living into them—which, finally, becomes his plea to see life from the perspective of the lowly, the downcast, the abandoned. 

To help us explain such a rich document, we had on our friend Jack Hanson, one of the most perceptive American writers on the Catholic Church. We tease out the connections between this Leo's first and encyclical and that of his namesake Leo XIII's Rerum novarum, an intervention on behalf of working people during the industrial and considered the origin of Catholic social teaching; Leo's "Augustinianism"; the encyclical's critique of artificial intelligence and what that has to do with its account of what really makes us human; and more.

Sources:

Pope Leo XIV, Magnifica humanitas, May 15, 2026
https://www.vatican.va/content/leo-xiv/en/encyclicals/documents/20260515-magnifica-humanitas.html

Pope Leo XIII, Rerum Novarum, May 15, 1891
https://www.vatican.va/content/leo-xiii/en/encyclicals/documents/hf_l-xiii_enc_15051891_rerum-novarum.html

Jack Hanson, "A Serious Man: The Militant Mysticism of Charles Péguy," Commonweal, May 3, 2021
https://www.commonwealmagazine.org/serious-man-0

– “The Heresy of Americanism,” The Drift, Jun 10, 2025. 
https://newsletter.thedriftmag.com/p/the-heresy-of-americanism

Michael Oakeshott, "The Tower of Babel" in On History and Other Essays (1983)
https://about.libertyfund.org/books/on-history-and-other-essays/

Reinhold Niebuhr, "The Tower of Babel" in Beyond Tragedy: Essays on the Christian Interpretation of History (1937)
https://books.google.com/books/about/Beyond_Tragedy.html?id=-Y0WAQAAMAAJ

Donna Haraway, “A Cyborg Manifesto,” (1985)
https://warwick.ac.uk/fac/arts/english/currentstudents/undergraduates/modules/fictionnownarrativemediaandtheoryinthe21stcentury/manifestly_haraway_----_a_cyborg_manifesto_science_technology_and_socialist-feminism_in_the_....pdf "]]></description>
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</item>
<item rdf:about="https://comment.org/walking-homeward/">
    <title>Walking Homeward - Comment Magazine</title>
    <dc:date>2026-06-24T07:35:16+00:00</dc:date>
    <link>https://comment.org/walking-homeward/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Leaving the faith, seeking faith."

...

"Perhaps leaving home all those years ago was not a straying from faith but an opening toward it."

[via this discussion:
https://pinboard.in/u:robertogreco/b:dbcf8c9fef97
https://micro.blog/ablerism/92703158

in response to:

"Simone Weil says, “There are two atheisms, of which one is a puriﬁcation of the notion of God,” which can be helpful. Years ago I said that sometimes God calls a person to unbelief so that faith can take new forms. I think faith is always trying to take new forms. A lot of people have to go through unbelief to get there."]]]></description>
<dc:subject>faith belief 2024 erinplunkett philosophy religion understanding spirituality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fc3a47cd0bb5/</dc:identifier>
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</item>
<item rdf:about="https://www.frontporchrepublic.com/2026/06/in-defense-of-our-country-on-the-need-to-resist-ai-and-ai-data-centers/">
    <title>In Defense of Our Country: On the Need to Resist AI and AI Data Centers - Front Porch Republic</title>
    <dc:date>2026-06-17T10:41:15+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2026/06/in-defense-of-our-country-on-the-need-to-resist-ai-and-ai-data-centers/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The holiness of the world: that is the heart of the matter. The doors of perception must be cleansed to see the holiness again."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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</item>
<item rdf:about="https://www.noemamag.com/how-ais-see-our-world/">
    <title>How AIs See Our World</title>
    <dc:date>2026-05-26T23:36:42+00:00</dc:date>
    <link>https://www.noemamag.com/how-ais-see-our-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["AIs are increasingly perceiving our world, but in order to comprehend it, our user interfaces must operate in reverse."]]></description>
<dc:subject>chenoehart 2026 ai artificialintelligence seeing chatbots openai chatgpt donnorman clivethompson skeumorphism technology computers computing comprehension computation llms elisagiardinapapa aitraining algorithms eryksalvaggio 2022 2023 ux ui theowayt amazon qrcodes cameras tomwilliams 2019 google microsoft morganklaussscheuerman race rfid smartphones data waymo understanding elaineherzberg uber ntsb automstion psysicalai nvidia avs detection tracking driverlesscars apple complexity</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:86e853880be2/</dc:identifier>
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</item>
<item rdf:about="https://aftermath.site/google-search-ai-changes/">
    <title>Google Unveils An Even Worse Search</title>
    <dc:date>2026-05-21T09:01:58+00:00</dc:date>
    <link>https://aftermath.site/google-search-ai-changes/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As a man with a library science degree and thus a nerd about searching for information generally, stuffing search tools with AI is also bad for everyday people’s ability to understand and query systems, if you’ll bear with me through a little rant. Everyone faces a challenge when exploring a new library catalogue or work database or figuring out boolean operators in Google, but learning to talk to a system in its language is one way we get a sense of how its creators structured it and their worldview and priorities. Going through a system’s results also teaches you how to think about them critically: Are they what I’m looking for, are they trustworthy, what information do they connect to and reveal? Google Search is probably one of the first and primary places that people experiment with and grow their information searching skills; spoonfeeding them AI summaries while obscuring or bypassing the source of the information might seem convenient, but it’s just robbing them of the chance to develop vital information literacy skills that they need more than ever in an AI-obsessed world.

But if you’re just a regular person, this means more AI crap to wrestle with when you’re just trying to find a nearby coffee shop or that article you remember reading 10 years ago. The AI bubble can’t burst soon enough."]]></description>
<dc:subject>google search ai artificialintelligence 2026 rileymacleod enshittification understanding query</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bbdb9ec3f3ef/</dc:identifier>
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<item rdf:about="https://www.youtube.com/watch?v=LSLEyD313Fg">
    <title>Stephen Apkon - The Age of the Image: Wayfinding in a World of Screens - YouTube</title>
    <dc:date>2026-04-10T01:57:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=LSLEyD313Fg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Stephen Apkon is the author of the critically acclaimed book, The Age of the Image: Redefining Literacy in a World of Screens, and the Founder and Executive Director of The Jacob Burns Film Center, a non-profit film and education organization located in Pleasantville, N.Y. The JBFC presents a wide array of documentary, independent and foreign film programs in a three-theater state-of-the-art film complex and has developed educational programs focused on 21st century literacy. Since its doors opened in 2001, JBFC education programs have reached over 100,000 children, and under Steve’s leadership, the JBFC inaugurated a 27,000 square foot Media Arts Lab in 2009.

In The Age of the Image, Apkon draws on the history of literacy, on the science of how storytelling works on the human brain, and on the value of literacy in real-world situations, and argues that now is the time to transform the way we teach, create, and communicate so that we can all step forward together into a rich and stimulating future. Legendary director Martin Scorsese writes in the Foreword to the book. “The Age of the Image lays out the tools we need to cultivate our awareness of and attention to every message and every gesture, artistic or opportunistic, expressed in print or in pixels. It's not just a plea for literacy, but a wonderful road map and guide for how it can be taught and nurtured.”

www.chautauqua.eku.edu"]]></description>
<dc:subject>stephenapkon wayfinding erikliddell dominicashby 2021 literacy screens storytelling education learning howwelearn images sensemaking understanding makingsense</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=6yl6JpVZTdM">
    <title>The Care Economy is the Everything Economy - with Emma Holten - YouTube</title>
    <dc:date>2026-04-04T07:44:45+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=6yl6JpVZTdM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Emma Holten is an economist from Denmark who has written the book Deficit: How Feminist Economics Can Change Our World. Holten details how much of what we consider ‘the economy’ is really underpinned by care of various kinds, mostly done by women. This is very much in line with my own interests around GDP and austerity, as I think our prevailing economic analysis devalues the unseen and leads to policies which hurt people, hurting the economy too. Emma and I had an excellent chat that I think was one of my best on this channel, I hope you all enjoy it!"]]></description>
<dc:subject>emmaholten unlearningeconomics feminism economics 2025 economy society gdp austerity care caring carework careeconomy health healthcare childcare gender hobbes adamsmith johnlocke illness thomashobbes reality humanism relationships social bodies embodiment politicaleconomy sickness unemployment labor work workers culture culturalhistory history quantification numbers statistics data information neoliberalism markets capital capitalism power lobbying influence socialscience socialsciences ideology sexism truth women understanding exclusion aging prices pricing efficiency simnplification methods method inequality diversity externalities coherence disabilities disability predicitons conservatism stabilization predictability equilibrium equilibriumtheory climate climatechange globalwarming change climatecrisis nurses nursing publicsector healthworkers rachelreeves essentialworkers values pandemic covid-19 coronavirus marketvalues qualitative purpose profit profits carecrisis nature environment sustainability uk e</dc:subject>
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<item rdf:about="https://everythingchanges.us/blog/mouthwords/">
    <title>Mouthwords | everything changes</title>
    <dc:date>2026-04-02T05:50:19+00:00</dc:date>
    <link>https://everythingchanges.us/blog/mouthwords/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["BRIAN MERCHANT writes about the abrupt Sora shutdown and notes one important component of that whole fiasco: the most common response to slop is revulsion. I think we need to acknowledge that this is also the case for most workslop: the documents, pull requests, emails, Slack messages, and so on that have been made with so-called AI and heedlessly tossed at colleagues without review are generating sentiments that range from, at best, exhaustion and boredom, to, at worst, disgust and intense despair.

You have to wonder why workslop like this even exists. Documents and whatnot are all mechanisms for communicating between humans—a communication that is always lossy, because creating a shared understanding between people is, and always will be, one of the hardest things we’ll ever do. Workslop dramatically increases that lossiness, with what we mean to say drifting further and further away from us, mediated through machines that smooth out the tone and blur the intent until we are saying nothing at all. This is perhaps the point: the less we are able to communicate with each other, the less power we have to negotiate the conditions of our work.

We need to see the advent of workslop in the context of the technological aims of the last several decades, one of which has been to obfuscate the human labor involved in everything from driving to cooking to gathering (which I will note is one of our oldest human activities). Tap a few buttons and a meal appears at your door, or a car arrives to whisk you away, or a bag of supplies manifests itself. All the people who worked to make that happen—the cooks, the farmers, the designers, the engineers, the factory workers, the ship’s crews, the longshoremen, the mods, the pilots, the janitors, the bankers, the diplomats and council members the world over, and so on—are hidden away, made invisible. It’s not that that labor doesn’t matter any more—there are good reasons that a port strike is taken very seriously—it’s that we are invited, even required, to avert our eyes.

Likewise, we don’t see the trillions of lines of code that fed the slop machines so that it could pump out a bloated, confusing, and ultimately brittle new feature for us. We don’t see the uncountable number of thoughtfully-written documents behind the one our colleague just sent us, the one that proposes a change in policy that is almost certainly illegal. And we definitely do not see the beleaguered worker tasked with reviewing and responding to this slop, who slouches ever deeper in her chair with each new message, until she wonders whether or not she will ever be able to get up. The tools and experiences imposed upon other workers have, as they inevitably would, come home to roost.

Two decades ago, David Graeber warned that having a bullshit job—a job with no obvious utility or purpose—was one of the most debilitating experiences any worker could have. Workslop is bullshit work at scale. This will get framed as a morale problem, which is true enough. But I promise you the technocrats pushing the slop machines do not give the slightest of fucks about your morale. This isn’t their problem; it’s yours.

So—what to do about it? I’ve seen a number of patterns emerging so far: teams discussing and defining new norms for how to pass around AI-generated documents, mostly coming down to the requirement to review and edit what you share before sharing it. Likewise: rules about the size of pull requests, or the number of PRs you can open at once, or good faith requests to limit the number of new wiki posts each week. But for these norms to stick they have to have some teeth. And that means you have to at some point refuse.

You have to refuse to review the 10,000 line PR which was submitted with a six-hour deadline. You have to refuse the sloppily bot-generated contributions to your open source project. You have to refuse to edit the slide deck that gets half a dozen things wrong about the business model, and the blog post that is so generically written you lose the will to live in the first paragraph. You have to refuse to read the proposal from the person who also hasn’t read it. You have to refuse to respond to the automated Slack message that seems entirely devoid of meaning whatsoever.

And you have to talk to the people around you—and when I say talk here, I mean with your mouths, the way humans have spoken to each other for millennia—about what the fuck is going on. Because like it or not, that’s the only way through this mess. Only by talking to each other can we counter the massive gaslighting and propaganda about how all this is inevitable (it isn’t) or about how you have no power whatsoever to change it (you do). Only by talking to each other can we enter that genuinely creative and generative space—not in the machine sense of sloppily recapitulating what’s come before, but in the profoundly human sense of sparking something new into existence—a space that only ever occurs in the encounters between people, in relationship to other humans and the more-than-human world. Only by talking to other people can we recall that we are humans, with human needs, one of which is not to be programmed like machines.

There is, as I am wont to point out, risk here. There is always risk! So long as you are a body, you are at risk of harm. There is risk in everything that you do and do not do. Your choice isn’t between risk and safety but different kinds of risk: choose well."]]></description>
<dc:subject>mandybrown 2026 brianmerchant ai aislop artificialintelligence generativeai genai revulsion workslop communication understanding lossiness power labor work davidgraeber bullshitjobs technocracy refusal resistance relationships morethanhuman human humans risk risktaking</dc:subject>
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<item rdf:about="https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/">
    <title>“This Is Not The Computer For You” · Sam Henri Gold</title>
    <dc:date>2026-03-25T18:48:59+00:00</dc:date>
    <link>https://samhenri.gold/blog/20260312-this-is-not-the-computer-for-you/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["There is a certain kind of computer review that is really a permission slip. It tells you what you’re allowed to want. It locates you in a taxonomy — student, creative, professional, power user — and assigns you a product. It is helpful. It is responsible. It has very little interest in what you might become.

The MacBook Neo has attracted a lot of these reviews.

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

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

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

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

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

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

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

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

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

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

He has decided he’ll be fine.

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

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

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

I was that kid.

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

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


[Feels like that fourth paragraph is a metaphor for a lot of things, like cities, like how children grow, like governments and civilizations, how change comes over time. We learn what is by bumping up against its edges and then we can be part of the conversation about what can or should come next and the process of making it. The Child Is the City × The City Is the Child]]]></description>
<dc:subject>macbookneo apple computers computing 2026 samhenrigold obsessions howwelearn tools machines learning limits limitations understanding boundaries howwework beginnersmind mac</dc:subject>
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    <title>Full Spectrum: The Science of Color and Modern Human Perception | Adam Rogers - YouTube</title>
    <dc:date>2026-03-23T04:24:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=w0boNG6JJhM</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tracing an arc from the earliest humans to our digitized, synthesized present and future - Adam Rogers shows the expansive human quest for the understanding, creation and use of color. We meet our ancestors mashing charcoal in caves, Silk Road merchants competing for the best ceramics, and textile artists cracking the centuries-old mystery of how colors mix, before shooting to the modern era for high-stakes corporate espionage and the digital revolution that’s rewriting the rules of color forever.

This journey has required millennia of remarkable innovation and a fascinating exchange of ideas between science and craft that’s allowed for the most luminous manifestations of our built and adorned world.

Adam Rogers is the author of Full Spectrum: How the Science of Color Made Us Modern and Proof: The Science of Booze. He is a deputy editor at Wired, and was a Knight Science Journalism fellow at MIT and a writer covering science and technology for Newsweek."]]></description>
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    <title>AI isn’t merely bad at writing. It does not and cannot write | Aeon Videos</title>
    <dc:date>2026-02-20T05:40:29+00:00</dc:date>
    <link>https://aeon.co/videos/ai-isnt-merely-bad-at-writing-it-does-not-and-cannot-write</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘Why did you write it?’

As an English professor, the YouTube video essayist known as ‘josh (with parentheses)’ has, over the past few years, witnessed a faculty-wide panic about students using large language models (LLMs) to plagiarise assignments. The experience inspired him to create this sprawling video essay on the meaning of LLMs – what they can do and, more to the point, what they can’t. To him, this includes the very act of writing itself, which he contends, borrowing the words of Stephen King, requires a ‘meeting of the minds’. The entertaining and insightful piece spans the poetry of Gertrude Stein and contemporary ‘brainrot’ videos, all while he prods at ChatGPT and his friends. Travelling to some surprising places, he generates an unusually perceptive meditation on what might, at first glance, seem like a near-exhausted topic."

[direct link to video:

"You are a better writer than AI. (Yes, you.)"
https://www.youtube.com/watch?v=V5wLQ-8eyQI

"As an English professor, I hear people at every level talking constantly about the use of AI in writing, but nobody seems to be talking about the thing that matters most: AI cannot write. Writing has language, and writing has communication, but the communication does not live inside the language. This is a video essay about what writing is. Meetings of the mind with Stephen King, Gertrude Stein, Lewberger, Max Teeth, CyberGrapeUK, and others--but by necessity not with ChatGPT.

Recorded on a Macbook Pro using OBS and a little bit of editing trickery. If you look at the timestamps on the files you can probably deduce that when I say "two weeks ago" I mean about four months ago."]]]></description>
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<item rdf:about="https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/">
    <title>Stop Meeting Students Where They Are - The Atlantic</title>
    <dc:date>2026-02-16T03:39:00+00:00</dc:date>
    <link>https://www.theatlantic.com/ideas/2026/02/youth-reading-books-professors/685825/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["What I learned when I finally started assigning the hard reading again."]]></description>
<dc:subject>walthunter 2026 pedagogy education highereducation highered colleges universities howweread reading attention howwteach teaching academia tonimorrison songofsolomon ai art chatgpt virginiawoolf writing howwewrite ulkrajanand harrietjacobs williamfaulkner willacather jonathanedwards literature experience wegsebald emilydickinson johnkeats tolstoy victorhugo michaelcrichton charlesswann georgesaunders books thoreau distraction confusion endurance stamina understanding waltwhitman humanities wallacestevens adriennerich adamkirsch vice vices mobydick moby-dick hermanmelville</dc:subject>
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<item rdf:about="https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/">
    <title>The Swiss Watch Industry Needs Bernhard Lederer's Philosophy</title>
    <dc:date>2026-01-02T12:57:08+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/bernhard-lederers-watchmaking-philosophy-could-liberate-the-swiss-watch-industry/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For the first time, I found myself wholeheartedly agreeing with a press release [https://lederertimepieces.com/wp-content/uploads/2025/08/DP2-LEDERER-CIC39mm-T2.pdf ] that just landed in my in-box. This was disorienting. Agreement is not a position I’ve found myself taking vis-a-vis press materials before. Most aren’t pushing anything to agree or disagree with in the first place. But as I read the PDF explaining Lederer’s new watch (the CIC 39 [https://lederertimepieces.com/watch/cic-39-racing-green/ ], already sold out), I was nodding my head approvingly the whole way down.

The watch takes on the historically significant and rather fascinating detent escapement [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ] invented by Abraham-Louis Breguet, but what struck me about this press release was the philosophical statements woven into almost every paragraph. Together, these statements formed a coherent—yet wonderfully dreamy—philosophy of watchmaking that also (perhaps unwittingly) lodges a long-needed critique of the Swiss watch industry writ large.

[photo of Lederer CIC 39]

I mean, this is a really good press release. It comes from Bernhard Lederer, one of the few great living independent watchmakers to come out of the generation that gave us Philippe Dufour, F. P. Journe, Kari Voutilainen and Laurent Ferrier—a tiny ilk of true masters.

Check out these extracted bits from the CIC 39’s press release, which in condensed form read like a hybrid of Wittenstein’s Tractatus Logico-Philosophicus and Shunryu Suzuki’s Zen Mind, Beginner’s Mind.

“…a watch is never an object, it is a manifestation of thought.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“Advancement cannot betray the craft.”

“Independence is not solitude….”

“Aesthetics arise not from decoration…”

“Every aesthetic choice in the [watch] exists to serve the mechanics.”

“…the elegance of a mechanism that has nothing to hide, only truth to reveal.”

“A movement should teach.”

“Its architecture is not merely functional; it is didactic.”

“Each wheel, bridge, and lever is placed with intent so that the movement reads clearly, teaching the eye how energy travels and how precision is earned.”

“…the [watch] expresses precision with a calm, almost meditative authority.”

“[The watch] does not demand attention; it invites a quieter form of fascination.”

[photo of Lederer CIC 39 movement from back of watch]

“…a quieter form of fascination.”

Many years ago, I started a podcast called Beyond the Dial that set out to explore the intersection of aesthetics and mechanics in watchmaking. I didn’t set out to explore mechanics and aesthetics separately, or even in parallel; I intended to explore the intersectionality of mechanics and aesthetics, what I envision as a kind of blurry overlaying of the Venn diagram’s circles into a unified field of aesthetic-mechanical creation from which those attuned to it could sometimes derive a state of prolonged wonder, a horological high.

A few truly great watches seamlessly fuse mechanics and aesthetics: Patek Philippe’s Ref. 1518, F.P. Journe’s Chronomètre à Résonance, the Lange 1, Jaeger-LeCoultre’s Master Hybris Mechanica Calibre 362. These watches, and precious few others, have transcended trends and can reliably engender the horological high, that uniquely prolonged state of wonder, that “quieter form of fascination,” as Lederer aptly puts it.

On the podcast, I struggled to express what this high was, exactly. I used phrases like “the phenomenology of watches,” [https://www.beyondthedial.com/post/insight-the-watch-collector-enthusiast-dichotomy-its-discontents-the-phenomenology-of-watches-as-spiritual-practice/ ] “mechanical wonder,” [https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/ ] and “tripping on watches” to expound the idea that—since telling the time was no longer the point of looking at a mechanical wristwatch—experiencing a heightened state of mind might be. 

Watches are aesthetic objects, of course. All objects are. But when I allow watches to become mere objects of style, the psychological balm, the horological high, the sweet buzz of time abstracted via a tiny machine…it all just evaporates. When this happens, I find myself chasing down some passing trend [https://www.hodinkee.com/articles/vintage-vacheron-allen-farmelo ], or vying for social position in the horological hierarchy, worried about what so-and-so would think of my so-called wrist-game. And then I’d grow cynical about watches and, in the end, bored with them.

[photo of Lederer CIC 39]

Grokking mechanics to some degree is fundamental to my achieving the horological high, “the quieter form of fascination.” Promoting this state of mind, I will argue, should be the core mission of the Swiss watch industry. This message is implicit in Lederer’s philosophy.

The Sweeping Problem

I believe that social media and the mass popularization of watches it helped foster have made it much harder to filter out the buzz of fast-fashion and tune into the hard-hitting horological high I was pushing via Beyond the Dial. 

With a tiny glimmer of hope, I sense a return to mechanical concerns across the industry as the post-pandemic markets calm down. I sense that serious watch maisons are realizing that something more than a sage-green dial or some clever “collab watch” is required to draw serious collectors back to their latest offerings. The bubble burst around 2023, and now the hype-fest is cooling down. I’m seeing little glimpses of a return to mechanical concerns from Panerai, Breguet, Vacheron Constantin, and even Rolex.

Lederer’s recent release of the CIC 39 (as well as the other five watches in his Masters of Escapement [https://lederertimepieces.com/wp-content/uploads/2025/08/2025_Press-Dossier-LEDERER_Bernhard-Lederer-Biography.pdf ] series) may point the way for the watch industry to regain its hold on generating that elusive sense of mechanical wonder in its customers. This is certainly the highest calling of the enterprise called watchmaking, and it is well worth considering how the Swiss watch industry can humbly return that sense of mechanical wonder to primacy.

The Language of a Master

The philosophy of Lederer, so eloquently woven into this recent press release, is built from the astute language of a master who knows about mechanical wonder, about attaining horological highs, about transcending the surface of visual aesthetics (i.e., going beyond the dial) and basking in the blurry merger I call mechanical-aesthetics.

If Lederer’s philosophy of watchmaking wasn’t sincere, this language would be easy to dismiss as just more high-handed marketing fluff, of which a great deal emanates from the Swiss watch industry. But the Lederer release rings sincere—even humble—when considered within the context of the mechanical problems with which he toils.

[photo of Bernhard Lederer]

“A mechanism must solve a real problem. If it doesn’t, it remains an idea, not watchmaking. For centuries, the detent escapement had potential locked inside it. I wanted to give it a voice,” Lederer is quoted as saying in the press release for the CIC 39.

I’m reminded of John Coltrane, the jazz saxophonist who toiled humbly for well over a decade before finally figuring out how to go beyond the bold accomplishments of Charlie “Yardbird” Parker. Many great artists toil tirelessly in the shadow of a specific forebearer, a (usually deceased) master who haunts them with lingering unanswered questions.

[photo of John Coltrane]

Coltrane once said [https://www.penguinrandomhouse.com/books/592345/3-shades-of-blue-by-james-kaplan/ ], “I’ve had a strange career. I haven’t yet quite found out how I want to play music. Most of what’s happened these past few years has been questions. Someday we’ll find the answers.”

“We go where watchmaking has questions left to answer,” Lederer says in the press release, sounding just like Coltrane.

The Detent Escapement and its Problems

Others of Lederer’s generation have toiled with Breguet’s escapements (both the natural and detent mechanisms), including Laurent Ferrier [https://laurentferrier.ch/blogs/news/in-depth-look-laurent-ferriers-natural-escapement ] and Kari Voutilainen [https://revolutionwatch.com/the-detent-escapement-in-wristwatches-dream-a-big-little-dream/ ]. The problems inherent to these mechanisms loom large, nagging the great masters to solve them.

You can find dozens of videos [https://www.google.com/search?udm=7&q=detent%20escapement&sqi=2 ] depicting the detent escapement’s fascinating motion, which will serve you better than my attempts at explanation. What I can confirm is that for centuries the detent escapement had suffered from limitations that make it unsuitable for use in everyday watches. It’s hard to get going once the movement has stopped, for one, and it is prone to instability at low amplitude, which is required for any meaningful power reserve in the relatively small space of a wristwatch movement. 

Lederer claims to have toiled—and, importantly, failed repeatedly—with the detent escapement for decades, slowly building up his understanding of the mechanism’s limitations and eventually finding workable solutions.

[photo of Lederer CIC 39 movement showing detent escapement]

The result of Lederer’s protracted effort is a gorgeous movement that runs the revised detent escapement off of a center-mounted balance cock. The escapement drives two independent gear trains, a configuration similar to the natural escapement-driven movement in his Central Impulse Chronometer [https://www.phillips.com/article/162598500/in-depth-the-lederer-central-impulse-chronometer ] of 2022, one of the six movements that Lederer is releasing as part of his Masters of Escapement series.

Humility and Slowness Can Reset the Watch Industry

As I read the press release for this watch, I hear a not-entirely subtle critique of the mainstream Swiss watch industry. Lederer’s philosophy of watchmaking is tersely in opposition to what has become the operable norm of Swiss watchmaking today: namely, that style and decoration (from gratuitous dial treatments to gaudy pave cases and trendy reissues) dominate watch design.

“Aesthetics arise not from decoration…”

“…a creation has value only if it solves a real mechanical challenge, clarifies a system, stabilizes energy, or deepens understanding. Anything else is only noise.”

“[Watchmaking’s] future belongs to those who pursue sincerity rather than spectacle.”

In espousing this philosophy, Lederer is, I think, showing the watch industry how it might rearrange its priorities and, with that, keep itself from bleeding out while caught in the hype-trap. The underlying message is that the marketing strategies of large luxury groups have sacrificed too much in service of social media’s voraciousness and the fashion industry’s quarterly renewals. Watchmaking that allows the inherently slow development of genuine mechanical innovation to (literally) undergird aesthetics can never keep that pace.

It is abundantly obvious to me that the reason Swiss watchmaking today can feel so spurious, so devoid of meaning, at times so blatantly dumb, is that too many brands insist on attempting to keep an unreasonable pace dictated by the demands of their marketing departments and not their R&D divisions. This hyper-pace has resulted in a splintering of annual collections into monthly, sometimes weekly, introductions of new dial colors, limited editions wrapped in weak partnership narratives, endless announcements about who wore which watch to what red-carpet event, and the press release I received last year asking me to tell my readers about a new strap color on offer for a watch already released multiple times with increasingly horrendous dial colors. I’m confident that this is the “noise” to which Lederer refers.

[photo of Lederer CIC 39]

With a measure of compassion, I understand that the onset of social media, the broadening of luxury markets, and the demand for quarterly ROI have pressured the great watchmakers of Switzerland (and elsewhere) to hustle beyond their capacity for genuine innovation. We all get it on some level; the impact is felt across industries around the world—including journalism.

But wasn’t watchmaking meant to be that one oasis of enduring sanity in a desert of spurious luxury madness? Or, shouldn’t it be?

Over and over we’ve seen the mandates for growth destroy the integrity of horological endeavors ranging from publications [https://www.wsj.com/style/fashion/hodinkee-luxury-watches-ben-clymer-b4078322 ] to philanthropic programs [https://robbreport.com/style/watch-collector/lists/15-watches-withdrawn-from-onlywatch-auction-1235595062/ ] to entire watch brands [https://robbreport.com/style/watch-collector/lists/bremont-watches-are-suddenly-good-investments-here-are-10-to-get-now-1235799724/ ]. At some point an industry gets stretched too far and can lose something essential, allowing consumer cynicism to creep in. Watchmaking has to at least consider resetting its priorities around something other than striving to keep pace with the mad tempos of social media and the world of fashion into which it seems so desperate to enter.

It’s time to put mechanical wonder back at the center of watchmaking, to respect the actual history of mechanical watchmaking rather than perennially spinning that history up into some seasonal marketing campaign, to more slowly help neophytes come to understand the subtleties of mechanical watchmaking rather than trying to degrade their sense of self in order to convince them to buy this week’s offering. We’ll get fewer bubbles this way, but they won’t burst their wet mess all over the quarterly reports, either.

Without a reinstatement of a core philosophy that prioritizes meaningful horological achievements, we’re going to end up in a world of uninspiring watches traded as the coinage of social capital. The world needs that about as much as it needs another smooth jazz record."]]></description>
<dc:subject>watches watchmaking 2025 lederer philosophy bernhardlederer philippedufour fpjourne karivoutilainen laurentferrier wittgenstein sunryusuzuki zen zenbuddhism aesthetics solitude independence sincerity stectacle thought elegance fascination attention mechanics phenomenology watchcanon socialmedia panerai breguet vacheronconstantin rolex switzerland johncoltrane charlieparker jazz music detentescapement humility slowness slow decoration philanthropicindustrialcomplex charitableindustrialcomplex cynicism consumerism consumption art abraham-louisbreguet luxury fashion wonder horology markets innovation marketing hype understanding allenfarmelo escapements watchmovements</dc:subject>
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<item rdf:about="https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/">
    <title>They Don't Make It like They Used To - Lagomorph</title>
    <dc:date>2025-12-31T07:11:00+00:00</dc:date>
    <link>https://lagomor.ph/2024/07/they-dont-make-it-like-they-used-to/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nostalgia for the past has supplanted our yearnings for the future, becoming the default marketing tool for corporations. Instead of asking ‘what’s new?’, they ask ‘what have we done before that you liked?’. This trend transcends marketing tactics, reflecting a destabilizing era of remakes and reboots. Crucially, nostalgia is a finite resource, and its exhaustion bears unknown consequences.

Jean Baudrillard’s notions of simulacra and simulation offer a valuable framework for understanding this phenomenon. In the post-postmodern era, the line between reality and representation has blurred into hyperreality, where simulations precede and replace the real.

Constructed Nostalgia depletes this finite resource, erasing authentic memories and replacing them with inferior copies. Consequently, our recollections are overwritten by simulacra, leaving us with inauthentic memories devoid of the original’s substance.

***

Authentic Nostalgia

To understand this phenomenon, it is essential to distinguish between authentic and constructed nostalgia. Authentic nostalgia arises from genuine personal experiences and emotional connections to the past. In contrast, constructed nostalgia is manufactured, designed to evoke a sentimental response without the underlying connection. It creates a feeling that one should be nostalgic, even if the specific reasons for that nostalgia are unclear.

Constructed Nostalgia is a Xerox of a Xerox. It starts with something you genuinely remember and feel fondness for, then revises it. This sanitized and engineered version of the past creates a sense of familiarity and longing without the authentic emotional foundation. For example, the resurgence of 1980s-themed products and media is predominantly consumed by much younger people rather than those who lived through that decade. Twenty-first-century teenagers listen to cassette tapes and records, feeling an inexplicable sense of home despite having no direct experience with these mediums.

***

Stages of Simulacrum

Baudrillard’s stages of simulacra elucidate this phenomenon further. Initially, a nostalgic product is created as a faithful reproduction—consider Commodore 64 clones, for example. These products aim to replicate the original experience closely, preserving the essence and integrity of the original, and maintaining a strong connection to authentic nostalgia. However, as these products become pervasive and are altered for modern tastes, they transform into distorted representations (second order simulacra). Remastered video games with updated graphics and controls, while retaining the essence of the original, introduce modern elements that alter the authentic experience, thereby introducing a layer of inauthenticity.

The third order of simulacra involves copies that pretend to be real but are fundamentally different from the original. The NES Classic, a modern version of the original Nintendo Entertainment System with pre-loaded games and new features, presents itself as an authentic revival but is essentially a different product. In this stage, the distinction between the original and the copy becomes blurry, creating a hyperreal experience where the simulation takes precedence over the original.

Finally, the fourth order of simulacra represents copies with no relation to any reality whatsoever. Modern devices designed to look vintage but equipped with entirely new technology fall into this category. These products evoke a sense of nostalgia through aesthetics alone, without any genuine link to past experiences. At this stage, the nostalgic product is a pure simulacrum, serving as a standalone object of nostalgia without any connection to the authentic past.

The progression of these stages illustrate how the commodification of nostalgia is an ouroborus - you can’t help but erode the ground your standing on. This process of transforming authentic memories into commodified products ultimately results in a loss of genuine cultural and personal history. We replace the warm feelings of authentic nostalgia with it’s sugar-free version, lacking depth and authenticity.

The more we engage with these feelings, the more they’re overwritten.

***


Psychological Impact of Constructed Nostalgia

The psychological impact of constructed nostalgia extends beyond mere consumer behavior, influencing how we perceive and recall our past. As constructed nostalgia becomes the prevalent form, it begins to distort our memories and affect our well-being in profound ways.

When individuals repeatedly engage with nostalgic products that simulate the past, their authentic memories begin to fade, replaced by the sanitized versions sold to them. This phenomenon is known as “retroactive interference,” where new information interferes with the ability to recall old information accurately. For instance, someone playing a remastered version of a childhood game may find their memories of the original game becoming hazy, replaced by the updated experience. This not only affects personal memories but also shapes the collective cultural memory, as we begin to remember the past through the lens of these reconstructions.

The malleability of these feelings has profound emotional consequences. Simulated warmth and familiarity do not stand up to the real thing. The realization that one’s nostalgia is constructed can lead to feelings of disconnection and dissatisfaction. When individuals recognize that their nostalgic feelings are based on inauthentic experiences, it creates a sense of loss that extends beyond the media or products they interact with. This recognition seems to drive a cycle where people seek out more nostalgic connections in an attempt to recapture the original emotions, further cannibalizing their opportunities to experience genuine nostalgia.

The broader implications of this phenomenon are significant. We struggle to form a coherent sense of self when our memories are constantly overwritten by constructed experiences. This constant overwriting detracts from the formation of a stable personal identity. Culturally, our reliance on constructed nostalgia leads to a homogenized view of the past, where diverse and authentic childhood experiences are overshadowed by a dominant, sanitized narrative. This homogenization not only distorts our understanding of history but also diminishes the richness and variety of cultural memory.

***

We Can’t Go Back

Once this process of photo-copying and overwriting begins, we reach a point of no return. The original emotions tied to our authentic memories are replaced by their engineered versions. The broken wheel of constructed nostalgia ensures these genuine feelings are lost forever.

Consider a child who watches Ghostbusters in the 1980s and cherishes the film as part of their childhood. As an adult, they participate in the new sequels - a second stage simulacrum - but their own child, even if they watch the original first before the sequels, understand the film as “Dad’s thing”, since they can’t have the emotional connection to the time and place of the original film. They can only feel the simulacrum, the modernized version, without the cultural and emotional context.

With time, this means that nostalgia for the property gets burned up entirely. Dad gets frustrated with the retrobait no longer doing anything for him emotionally. Daughter never really felt a connection with it at all. Corporation moves on and starts constructing nostalgia for something else.

What we are witnessing is the creation of a feedback loop, where each generation’s history is undermined from the foundation upwards. Future generations, growing up with sequels and remakes, are nostalgic for a simulacrum—a copy without an original. This manufactured sentimentality lacks the depth of authentic emotional connections.

Before the post postmodern, history was rewritten by the victors. Now it is continually revised by those who profit from it. This commodification of nostalgia transforms our cultural history into a mass-produced disposable product. We slide through the tree of history, turning branches into walking sticks, and reduce it to a superficial, fragmented cultural memory.

***

Historical Events and Nostalgic Overwriting

By continuously engaging with these simulations, we risk erasing the genuine emotional connections that form the foundation of our personal and collective identities. As a result, the more we indulge in constructed nostalgia, the more we lose touch with the authentic experiences that once defined us.

The Summer of Love in 1967, celebrated as a time of peace, love, and cultural revolution, is a prime example of this phenomenon. The reality of the period was far more nuanced, marked by rampant racism, drug abuse, and clashes with police and the state. Nostalgic portrayals often delete these aspects, focusing instead on the era’s vibrant aesthetics and countercultural symbols.

Fashion and media not only reshape our cultural history of the Summer of Love by selling tie-dye shirts and bell-bottom jeans—they burn the historical context entirely. If listening to a Beatles record represents first-order nostalgia, then Temu flower-power jeans are a fourth-order simulacrum. As authentic nostalgia is consumed, subsequent generations fundamentally misunderstand past events. This sanitization permanently erases the struggles and achievements of our history, affecting contemporary social and political movements by oversimplifying and misinterpreting lessons from the past.

Moreover, our reliance on these nostalgic narratives stifles critical engagement with our own humanity. When the past is primarily remembered through constructed nostalgia, the complexities and true nature of our lives become reduced. The potential for meaningful reflection and growth is hindered, leaving us with an unstable foundation upon which to build our understanding of history and identity.

The long-term consequences of relying on constructed nostalgia are profound. As we continue to replace authentic memories with sanitized versions, we risk losing the ability to learn from history. This not only impoverishes our cultural heritage but also weakens our capacity to address contemporary issues with the depth and nuance they require. By embracing a more critical engagement with the past, we can preserve the richness of our collective experiences and foster a more informed and empathetic society. It is essential to recognize the difference between genuine nostalgia and its commodified counterparts, ensuring that our memories and histories remain grounded in reality rather than in superficial reconstructions.

***


Identity Formation and Attachment to Childhood Media

As constructed nostalgia replaces authentic memories, individuals struggle to form a coherent sense of self. We chase connections to our history, and not finding it, attach ourselves to our media instead. This phenomenon is particularly evident in the intense devotion a section of modern adults display towards the media of their childhood, such as the fervent fandoms surrounding franchises like Star Wars, Disney, or Marvel.

The attachment to childhood media often stems from a longing for the simplicity and comfort of the past. Constructed nostalgia plays a crucial role in this attachment by continuously repackaging and marketing these media franchises in ways that evoke sentimental feelings. As a result, adults find themselves clinging to these cultural touchstones, which provide a sense of stability in a world that, due to our reliance on overwritten memories, feels unfamiliar and ever-changing.

This reliance on media for identify formation has significant social implications. On an individual level, obsession with childhood nostalgia leads to a superficial sense of self, anchored in consumer culture rather then true authentic personal experiences. These “Disney-Adults” who define themselves through their fandoms are beyond the point of developing an independent identity, nor do they want to; Their self-concept is entirely influenced by the shifting trends and narratives of manufactured nostalgia, making it difficult to cultivate a stable and nuanced sense of self.

Baudrillard critiqued Disneyland as a prime example of hyperreality—a place where the lines between reality and fantasy are blurred. He argued that Disneyland exists to conceal the fact that it is the “real” America, or rather, a sanitized and idealized version of it. In Baudrillard’s view, Disneyland is not just a theme park; it is a simulation that represents the larger cultural tendency to replace the real with the hyperreal.

If this is the case, then Disney-Adults are the first class citizens of this “real” America, and exist only as expats in material reality. Simulated Nostalgia is their first language before english, more comforting and comprehensible then the material world.

This intense emotional investment in childhood media often leads to exclusionary and defensive behavior. A notable example is the vitriol directed at properties like the new Star Wars films and Captain Marvel. While sexism against female leads was certainly a factor, it overlooks a larger issue—the fear among fans that their identity, deeply intertwined with these media franchises, is being threatened by new adaptations and interpretations. These changes deviate from what they nostalgically cherish, prompting a backlash fueled by a perceived loss of the familiar elements that define their sense of self.

This pattern of defensiveness and exclusionary behavior is not limited to media fandoms; it extends into our larger cultural interactions, particularly in current politics. Constructed nostalgia plays a significant role in shaping political identities and behaviors, as individuals cling to idealized versions of the past that align with their beliefs and values. Political movements often invoke a “golden age” narrative, appealing to voters’ nostalgic longing for a perceived better time. This strategy capitalizes on constructed memories, glossing over the complexities and challenges of the past to create a compelling, yet simplistic, vision of history.

The rise of populist movements globally can be seen as a manifestation of this phenomenon. Leaders and political figures frequently evoke nostalgic imagery to rally support, promising a return to the values and prosperity of a bygone era. This rhetoric resonates deeply with those who feel disconnected from the present and yearn for the familiarity of the past; Moreover, the reliance on constructed nostalgia in politics can lead to polarized and inflexible viewpoints. Just as fans of media franchises react defensively to changes, political adherents reject new ideas and policies that challenge their nostalgic ideals.

The long-term consequences of relying on constructed nostaliga for identity formation will be profound. As individuals and societies become increasingly defined by their media consumption, the ability to engage critically with the past and present is compromised. The only option left is to burn it all down.

***

Oops, We’re Doing an Accelerationism

There is no turning back. It’s impossible to deny Constructed Nostalgia. As long as someone, somewhere, says “Remember this?” the process of its transformation begins, regardless of intent. The speed of resource extraction only increases as profit is discovered.

We can, however, accelerate its consumption until the economy of nostalgia self-destructs; revel in our history like dogs in mud. Burning through our nostalgic resources, we may reach a point where the past is entirely exhausted. This accelerationism proposes that we push this cycle to its logical extreme: by fully embracing the artificiality of Constructed Nostalgia, we expedite its collapse.

In this scenario, the relentless pursuit of monetizable history consumes all historical connections, stripping them of meaning until only the simulacra of all our feelings remain. With nothing left to feel nostalgia for, we are forced to confront the present in all its complexity. By exhausting the past, we free ourselves from its perpetual re-creation, and construct an authentic engagement with the now.

This would be a new cultural paradigm. In this landscape, individuals and societies would be forced to restructure around genuine, unmediated experiences - a world without history.

The only way out is through. Hasten the demise, and clear the path for an authentic future. Burn all of history until all that’s left to monetize and feel is the now - forge a new relationship with time and memory; grounded in the present, free from the distortion feel of commodified sentimentality.

This is why I’m watching the new Fallout TV show on loop. I’m an accelerationist.

***

References

Baudrillard, J. (1983). Simulations. Semiotext(E), Cop.

C, B. (2024, May 17). Diagnosing Lore-Brain. Brennan Words. https://brennanwords.ca/2024/05/diagnosing-lore-brain/

This Exists. (2024, July 4). CRT gaming and the trap of retrobait. YouTube. https://youtube.com/watch?v=vpuomqq6W9A "]]></description>
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<item rdf:about="https://sarahendren.com/2025/11/17/convinced/">
    <title>convinced | sara hendren</title>
    <dc:date>2025-11-17T17:34:01+00:00</dc:date>
    <link>https://sarahendren.com/2025/11/17/convinced/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Last week I had students in one of my classes watch Sound of Metal, a scripted feature film about hearing loss, cochlear implants, sobriety, embodiment, grasping and limits, and so much else. It’s beautifully written and performed, and it followed readings that included Byung-Chul Han’s The Burnout Society.

The first student to speak up about the film was J, who said: I’m not sure if this is the right way to say it, but I was…convinced by the movie. J thought this response was likely inadequate, but I assured him that any writers of fiction would be very pleased by that choice of words. They’d be thrilled to know he was convinced that the world of the film or book existed, convinced that these characters moved through it, that they were recognizably human, convinced by the dream state of taking on those characters’ idiosyncracies and questions as though they were our own.

I spend a lot of time reading the arguments of my nonfiction writer friends and admirees — peers in policy, academia, journalism — and I am plenty often convinced by them in the usual way. I am convinced by their logic and by their evidentiary appeals. I desperately need that persuasion as nourishment, and I seek out minds much sharper and more skilled than my own. I need a steady diet of their ideas to think with. I’m acutely aware of my limitations.

But I don’t really long to join these writers in that kind of persuasion, to have that form of something to say. I said this a while ago — I want to make art, not arguments [https://sarahendren.com/2022/12/19/art-not-argument/ ] — and when J said this thing about being convinced, I recognized it again. I want to be convincing about what it feels like to be a human being."]]></description>
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    <title>How AI Will Translate Human Creativity as Sci-Fi and Reality Converge | The Futurology Podcast - YouTube</title>
    <dc:date>2025-11-04T18:43:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=q8ZR9-y4ik8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The first machines mimicked our muscles. Today, they’ve learned to mirror our minds. Now they’re beginning to imitate something even closer to the core of our humanity – imagination itself. Sci-fi author, translator, and technologist Ken Liu calls this new medium the Noematagraph: a tool for capturing creativity and collaborating with AI in the same way cinema tells stories with actors, sound and a splash of light on a screen.

In this episode of Futurology, Liu joins Berggruen Press’ Executive Editor Nils Gilman to explore how AI blurs the line between artist and audience, code and consciousness. They discuss why storytelling has always been humanity’s most powerful technology and how machines, by learning to tell their own stories, may change what it means to express emotion in the AI age."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form">
    <title>When Pilgrimage Becomes Form - Beautiful Eccentrics</title>
    <dc:date>2025-10-18T06:09:52+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/when-pilgrimage-becomes-form</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On peripatetic practices."

...

"I started walking intently, as the writer Lori Waxman calls it, sometime during the pandemic in 2020. The pandemic forced us to radically limit our mobility to the most immediate surroundings. During that period my mind reverted to my childhood, when I was not allowed to leave the house unattended and was dependent of an adult to go beyond a few blocks. Stores and restaurants were closed, and even some public parks; no public transportation was available nor taxicabs. For many of us New Yorkers without a car, the only way to rebel against that imprisonment was to go out and walk through our neighborhoods. The activity became not only a form of exercise, but an attempt to improve our mental health.

Over the past five years this practice has deepened for me, leading to three realizations:


1. Movement and knowledge are inseparable; the act of going toward something generates its own kind of understanding.
2. Art is pilgrimage, and pilgrimage itself is a form of art.
3. Getting lost is not failure but a necessary and undervalued condition.

To survive as human beings requires the ability to move. Our earliest ancestors, 300,000 years ago, depended on hunting and gathering. Immediately, we can understand that this process of gathering is itself a form of learning—whether in a nomadic or sedentary community. The hunter or gatherer requires knowledge of the landscape, ecological systems, and the resources of their environment. What they observe must be shared and transmitted to their community, making this process of gathering an eminently social act.

Movement also connects to another kind of knowledge: spiritual knowledge—the knowledge of the pilgrim. As is well known, the principal reason that pilgrims walk the Camino de Santiago is spiritual, since the lessons gained suggest that difficulties and setbacks must be confronted rather than avoided.

But pilgrimage is not only an act of spiritual realization—it is also an act of knowledge. This is manifest in the Baroque period, ironically in the work of a Hieronimite nun who never traveled outside of the New Spain. I am referring to Sor Juana Inés de la Cruz’s masterpiece, Primero Sueño. In that poem, the narrator imagines her soul rising from her body while dreaming, at which time she is able to capture the totality of divine and human knowledge. But, it being a dream, this knowledge is also an illusion, and she wakes up with that realization.

In art, the way walking has been domesticated, if you will, is by turning it into an act of spiritual/touristic pilgrimage to specific sites.

The museum, often seen as a mausoleum, in other contexts becomes a kind of sanctuary or altar. The experience of visiting an artwork is a hybrid of tourism and spiritual pilgrimage.

Artworks in museums often undergo a double consecration. First, they become commodities, circulating through systems of value until they are enshrined as priceless treasures. Second, once housed in institutions, they acquire the aura of relics: objects to which we make pilgrimages. To stand before the Mona Lisa, for instance, is less an act of aesthetic contemplation than a ritualized performance — waiting in line, jockeying for a glimpse, documenting the encounter with a smartphone. As Benjamin suggested, the museum amplifies aura by staging artworks as sacred presences, and as Carol Duncan has argued, the visit itself functions as a civilizing ritual. Yet in the society of the spectacle (Debord), this ritual is commodified: tourism, ticket sales, and the circulation of selfies transform reverence into revenue. The museum pilgrimage becomes indistinguishable from a consumer experience, a sacred encounter repackaged as leisure.

It was precisely against this cycle of idolatry and fetishism that process-based art emerged. In Happenings, Kaprow shifted attention away from the object and toward the event; performance artists made the body itself the medium; land artists inscribed gestures into the landscape rather than onto a canvas. What mattered was not the relic but the act — the lived moment of participation, risk, or movement.

Walking as an art form crystallizes this ethos. Richard Long’s A Line Made by Walking (1967) turned the most ordinary of actions into a sculptural trace, reimagining the artwork as a fleeting imprint in the landscape. Hamish Fulton built an entire practice on the motto “no walk, no work,” treating walking itself as both medium and message, where the journey is the art. Francis Alÿs, in works such as The Collector (1991) or The Green Line (2004), extended walking into poetic and political registers, where the act of moving through urban space becomes a way of narrating history and conflict. Unlike the pilgrimage to the museum shrine, these works propose a pilgrimage without object: not a journey toward a sacred relic, but toward oneself. To walk as art is to recognize that the sacred lies not in commodities enshrined behind glass, but in the embodied act of moving through the world, where every step is both process and reflection, both artwork and awakening.

In other words: in museums, artworks often become sacred relics. We line up to see them, as if on pilgrimage — think of the Mona Lisa. But this pilgrimage is commodified: ticket sales, gift shops, selfies. The ritual of reverence is packaged as leisure.

Process-based art broke away from that cycle and shifted value from the object to the act. What mattered was the gesture, the event, the body in time.

My own practice has been guided by this spirit. For me, walking is also learning. It is not centered on an object, but it generates many forms: documentation, markers, narratives. The School of Panamerican Unrest was one such walk — a journey from Alaska to Tierra del Fuego, where each stop became a classroom, each encounter a lesson. The project was less about reaching an end point than about creating a living archive of dialogues across the Americas.

So when I walk, I walk to learn. The artwork is not a relic to be enshrined, but a process of exchange — a story that unfolds with every step.

Whenever I think of the act of getting lost, I often think about the Calzada del niño perdido (lost child Causeway) in Mexico City, a street whose name stems from a colonial-era story about an anonymous boy who got lost and was later murdered. The street is today part of the modern-era Eje Central Lázaro Cárdenas in downtown Mexico City.

While getting lost is often associated with anxiety and tragedy, being lost does not constitute failure. On the contrary, it can be the point. As we know, the Situationists sought it intentionally and celebrated it as the dérive—drifting through the city without direction, letting the streets themselves guide you. To lose the map is to let go of habit, to break from the familiar circuits of daily life.

Displacement, whether intentional or accidental, is deeply generative. When we are out of place, we see differently. The city rearranges itself. Our assumptions are unsettled. Suddenly, a side street, a fragment of conversation, a corner café becomes a revelation.

For me, this has always been central: walking is not about efficiency, it is about discovery. To be displaced is to be invited into new ways of perceiving, to reframe perspective and re-examine reality. It is in those moments of disorientation that the real work of art—and of learning—emerges. So walking also means accepting disorientation. Displacement—whether by design or accident—is productive: it unsettles our habits, shifts our perspective, and opens us to what we would otherwise overlook.

To walk, to learn, even to lose our way: these are not detours from art, but the very conditions for it. In displacement we reframe reality; in drifting we encounter the world anew.

For the artist, in particular being lost, more than constituting failure, is condition. To be dislocated, to stand at the margins, is to step into the role of outsider. Walking is our most direct instrument for this task, the line we draw across the world to register where we are and who we are becoming. Each step is a cartography of reality, a way of sketching our fragile bond with place and time.

And it is in the unease of this dislocation — the vertigo of not quite belonging — that some of the most meaningful works of art are made. For to be out of place is also to see differently, to sense more sharply, to discover what the familiar conceals. Walking teaches us that the shrine is not ahead of us, waiting in a temple or a museum. The shrine is the path itself, the movement, the detour, the drift. It is the moment of being lost, and the act of finding anew.

The peripatetic tradition—from Aristotle to Sor Juana, from psychogeography to contemporary art—reminds us that learning and creating are acts in motion.

I close with one last but important note:

In Maurice Maeterlinck’s The Blue Bird, two children set out on a long journey to find happiness. They travel through strange lands—of memory, of night, of the future itself. And when they return, after all that wandering, they realize the blue bird was at home the whole time.

Walking, too, is this kind of quest. We walk not just to get somewhere, but to lose ourselves, to dislocate ourselves, to let the world rearrange itself before our eyes. And yet, at the end, what we discover is not some distant treasure. It is the nearness of what was already here.

The lesson of The Blue Bird is not that the journey was unnecessary. It is that the journey was the only way to truly see what home means. To walk is to go outward in order to return inward. To walk is to trace, step by step, the cartography of belonging. All these distances I walk daily (21,000 daily steps, or 10 miles), that search of happiness of sorts, this long pilgrimage, I have come to realize, is nothing other than an effort to come back to myself. The bird we seek is not distant; it waits quietly at home. The pilgrimage is the form, and the form is the return."]]></description>
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<item rdf:about="https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect">
    <title>Partita for Ghost Ladder and Insect Eyes</title>
    <dc:date>2025-10-18T05:48:48+00:00</dc:date>
    <link>https://pablohelguera.substack.com/p/partita-for-ghost-ladder-and-insect</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Using artistic means for non-artistic ends."

...

"A

In 2005, I was invited by the members of the Mexican collective Laboratorio 060 (then composed of Javier Toscano, Daniela Wolf, Lourdes Morales, and Gabriella Gómez-Mont) to participate in a site-specific project that brought together international artists and the community of Frontera Corozal, Chiapas — a small town on the border between Mexico and Guatemala, along the Usumacinta River, deep in the Lacandon jungle.

B

I often think of the late Marjorie Perloff, whose brilliance I had the privilege to witness firsthand and whose book Wittgenstein’s Ladder has long served as a quiet compass. In that remarkable study, she demonstrated how the philosophy of language could illuminate the strangeness and beauty of poetic form — how the scaffolding of thought might itself be art.

Lately I have been preoccupied with a reversal of Wittgenstein’s metaphor. In the realm of art, contrary to his suggestion, we cannot throw the ladder away. The ladder — the process, the experience, the unfolding of thought and action — is not a means to an end but the very substance of the work. Yet our museums and markets, fixated on the permanence of the object, continue to discard the ladder, mistaking its residue for the work itself.

A

The Frontera project, about which I have written elsewhere, was among the first socially engaged art initiatives in Mexico and profoundly shaped my thinking about audience engagement. Some of the artists included in the project were Aníbal López, Bubu Negrón, Miguel Ventura, and many others.

The project’s interventions ranged from public works to provocative performances that generated puzzlement in the community. At times I think they saw us as a group of crazy tourists that were doing eccentric rituals, but at the same time we connected with them in ways that transcended language and our respective universes. I spent time with Chol children in a grade school, Primaria Torres Bodet, where the students wrote their own short stories (in Chol).

The project was, in every sense, complex — impossible to summarize here — but one challenge stands out: how to convey the story of what had happened in Frontera to those who had not been there. After a number of years, the collective eventually produced a documentary, but even the documentary does not manage to fully convey the intricacies of the project.

Writing workshop with students at the Escuela Primaria Federal Bilingüe Jaime Torres Bodet, Frontera Corozal, Chiapas, 2006 (Javier Toscano on the right side of the photo).

B

Wittgenstein viewed language as a ladder to be discarded once understanding had been reached. The art world, perhaps unwittingly, absorbed this idea by fetishizing the finished object. Museums and markets celebrate completed things rather than fulfilled intentions — as if the endpoint of artistic labor were a permanent object rather than a temporary state of comprehension.

The most meaningful artistic processes I have witnessed do not culminate in the object but move through it: the object becomes a prop, a marker, a trace of an encounter. To throw away the ladder, in this sense, is to discard the very work we seek to understand.

This misunderstanding — the elevation of the remnant over the realization — has shadowed much of modern and contemporary art. The avant-garde already attempted to dissolve the boundary between means and ends: Kaprow’s happenings, Lygia Clark’s relational objects, and Tania Bruguera’s arte útil all sought to locate meaning in acts rather than artifacts. Yet the museum, compelled by its custodial logic, continues to frame these works through the detritus they left behind. It behaves like Wittgenstein’s reader who climbs the ladder and then displays it in a vitrine — forgetting that its purpose was to enable ascent, not to be preserved as an object of study.

This institutional tendency betrays a deeper epistemological discomfort: the anxiety that, without the object, we lose our coordinates of value, authorship, and permanence. Against that anxiety, the task of both pedagogy and art may be to learn how to dwell within process — to recognize that the fleeting, dialogical, or collective experience is not a prelude to the work but its fullest form of existence.

A

In 2008, when I had the chance to invite Laboratorio 060 to exhibit in New York, at the CUE Foundation, and they sought to present an anthology of their past projects, the question of how to present Frontera Corozal returned. Javier Toscano proposed something radical in its simplicity: to have a person stationed in the gallery at all times, a living storyteller who would narrate aspects of the project — to embody what could never be contained in images or video. Financial limitations made it impossible, but the idea stayed with me. It remains, to my mind, one of the most eloquent metaphors for what museums and educators must learn to do: to animate the absent process, to make visible the invisible scaffolding of art through presence and narration.

Often I think that this is precisely what educators already do, albeit without formal acknowledgment: we serve as living interpreters of what the artwork cannot say for itself.

B

Perhaps what requires closer attention is not our misunderstanding of the ladder but our fear of letting it go. The art object is not merely an aesthetic artifact; it is a kind of security blanket. It reassures collectors of possession, scholars of focus, museums of purpose. The object anchors the otherwise unstable realm of artistic process, providing a surface upon which value and authorship can be inscribed. Without it, the canon loses its stage set, the archive its evidence, and the institution its promise of permanence.

Artists are not innocent in this arrangement. During creation, our attention belongs to the immediacy of process — the question, the exchange, the experiment. Yet, with time, the temptation to translate the ephemeral into consecrated form becomes irresistible. Photographs, certificates, relics of social projects: these become the tokens that secure our place in the narrative we once sought to unsettle. Thus, we too sustain the system that mistakes the ladder for the ascent, allowing documentation to stand in for the experience itself.

The question, then, is twofold. First: how might artists resist the gravitational pull that turns inquiry into artifact, action into documentation, and experiment into inventory? Can an artwork exist as a process of knowing that refuses to collapse into ownership yet sustains itself socially and economically? Perhaps the task is not to destroy the object but to destabilize it — to transform it from relic to relay, from residue to condition.

Second: the greater challenge may fall upon the institutions built to enshrine artists. Museums, designed to protect objects, must now tell the stories of works that resist objecthood. They must narrate gestures meant to vanish and teach audiences to encounter art that exists more in time than in space. Doing so requires an epistemological shift: from the museum as a container of artifacts to the museum as a mediator of processes.

This might mean collecting protocols rather than things, treating exhibitions as rehearsals rather than finales, and valuing the interpretive labor of the public as part of the work’s afterlife. Preservation may sometimes take the form of facilitation rather than possession. The true continuity of art may lie not in its objects but in its capacity to generate renewed forms of experience across time.

Museum education, I believe, holds a unique key to this dilemma. If curatorial practice is bound to the object, education is bound to the encounter. Through interpretation, activation, and conversation, educators can reveal what I call the museum’s ghost ladders — the vanished structures of process and inquiry that once supported the finished work but now haunt its display.

A

I remember one night in the Lacandon jungle during the Frontera project, sitting on a porch after dinner as waves of sound—cicadas, crickets, and other unseen creatures—rose and fell around us. The air was thick with humidity and the layered chorus of the forest. At one point, I noticed a large tarantula near my feet and instinctively recoiled, startling myself. The locals burst into laughter at my reaction, assuring me that these spiders were entirely harmless. The conversation then turned to the presence of all living beings around us that we were not aware about. A local then suggested I place a flashlight beside my temple and point it toward the trees, an area that was absolutely pitch dark. When I did, thousands of tiny glimmers blinked back — the reflections of innumerable insects’ eyes hidden in the dark.

That image returns to me whenever I think about the unseen processes that underlie the artworks we display: the invisible ladders that structure the visible world.

Fugue

James Joyce once wrote in Ulysses: “What is a ghost? One who has faded into impalpability through death, through absence, through change of manners.”

The processes of art, too, sometimes fade into a kind of impalpability — through institutional habit, curatorial absence, and changing manners of art-making. Yet their eyes still shimmer in the dark.

To recognize them is to acknowledge that the work of art is never finished, that the ladder remains even when unseen. Our task, as artists and educators, is to sensitize others to their presence — to make them glimpse, if only for a moment, those innumerable ghost ladders watching us climb, gleaming like the eyes of the jungle, reminding us that art itself is the act of ascent."]]></description>
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<item rdf:about="https://therumpus.net/2025/10/02/human-error-is-the-point-on-teaching-college-during-the-rise-of-ai/">
    <title>Human Error Is the Point: On Teaching College During the Rise of AI - The Rumpus</title>
    <dc:date>2025-10-09T00:41:33+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Some mornings I forget my lanyard. Or the bathroom on the third floor is locked for reasons no one can explain. Or I bring handouts for the wrong section. I get distracted mid-lecture trying to remember the word for that thing that’s almost a synecdoche. Someone raises their hand to ask a question I don’t know how to answer, and I say the wrong thing. Or I say the right thing but too quickly, and someone flinches and I realize—too late—it wasn’t the question that mattered but the silence behind it.

And still: they come back next week. They sit down. They open laptops and notebooks and half-listen with the kind of distracted attention that is still, somehow, real.

AI will never know how to read that kind of listening.

In my classroom, there is always a delay. Between question and answer. Between what we meant to say and what came out instead. That space—the stutter, the pause, the gesture—is where the actual teaching happens. Not in the bullet points or in the Google Doc comments, but in the moment someone says, “I don’t know if this makes sense, but—” and suddenly it does.

A chatbot can generate lecture slides with more efficient scaffolding than I ever will. A bot can sort discussion board posts by keyword or sentiment. But bots will never notice the shift in someone’s voice when they say “home” versus when they say “mother.” It will never register the second eye-roll, the one meant not for disdain but for solidarity. It will never mishear “Homeric” as “homely” and accidentally create an entire week’s worth of discussion about what makes a hero.

AI cannot mishear. And mishearing is often how we learn.

Once, a student wrote a sentence so strange I wrote “What do you mean?” in the margin. The next week, she came to office hours. She told me the sentence wasn’t wrong—it was something her grandmother used to say. She translated it back into English the way she thought it should sound. It made perfect sense once she explained. But only after she explained.

No computer code creates that kind of knowing. No input-output sequence replaces embarrassment with insight. The error enabled the way in. The misunderstanding made the meaning.

This semester, a student told me they hadn’t spoken aloud in a classroom since before the pandemic. They hadn’t heard their own voice—aloud, in the classroom—for years. And when they did, the whole room shifted. You could feel it. You can always feel it. Even the overhead light seemed to dim a little, and the guy in the third row finally stopped clicking his pen. Everyone leaned in, to bear witness.

There’s no A/B test for that. No metric. No archive of comparable outputs. There’s just a small, trembling voice returning to itself after years in the dark.

Sometimes we read the same poems over and over. Bishop. Clifton. Olds. Sometimes I assign the same essay prompts because I don’t know what else to say. Sometimes I cry while reading student drafts—quietly, when they’re not looking. Sometimes I lie and say “that was a good question” when it wasn’t. And sometimes I say “that was a terrible question” and everyone laughs, including the person who asked it because they know I’m mostly joking. We laugh and something shifts and it becomes a good class even though nothing we planned worked. We didn’t even get through the reading.

But the reading isn’t the point. The point is that they’ll remember the class when someone finally said the thing. Or almost said it. Or didn’t. The not-saying is important too. It teaches us how to stay.

My syllabus is a mess of half-remembered intentions. I re-use icebreakers that I know don’t work. I forget to grade the first assignment until Week Four. I write emails that begin with “So sorry for the delay!” and I mean it. I use “This reminded me of something I once read—” as a stall tactic. I say “I don’t know” more times than I should. I also say “I love that” when I don’t. Because I want to encourage them. Because I do love that they showed up. Because showing up is a miracle.

No bot knows the miracle of showing up hungover and sad and still asking, “Can I turn this in late?” That is humanity. That is literature. That is the classroom. They don’t know what they’re doing here, and they come anyway.

At the beginning of every semester, I tell my students not to call me “Professor.” I say, “Just Sean is fine.” Then I ask them about breakfast. About what a perfect day looks like. And someone always says, “Not being here,” and someone else says, “No homework,” and I laugh, but I write it down on the board. Not because it’s clever. But because it’s true.

And then we begin.

I will never compete with AI in word count or response time. But I will keep saying, “Tell me more about that…” I will keep asking, “Who are you reading outside this class?” I will keep noticing how the girl in the back always looks up when I mention whales or rivers or grief. I will keep waiting for the moment someone finally turns off their spell-check and writes a sentence that shocks even them.

What A.I. can’t do is feel the shape of silence after someone says something so honest we forget we’re here to learn. What it can’t do is pause mid-sentence because it remembered the smell of its father’s old chair. What it can’t do is sit in a room full of people who are trying—and failing—to make sense of something that maybe can’t be made sense of.

That’s the job of teaching.

It’s not about knowing. It’s about being present. About staying long enough to know what to ask. About saying: “I think I know what you mean,” even if we’re wrong. Especially if we’re wrong.

And so: I forget my lanyard. I forget what page we’re on. I forget the password to the projector. But I remember the look in someone’s eyes when they finally say what they’ve been trying to write for weeks. And I remember the first student who asked if they could write about their dead dog, and the one who asked if they could write about the pills. And the one who said, “This class is the only reason I come to campus.”

I remember the human parts.

And the human error is the point."

[via:
https://kottke.org/25/10/0047684-this-is-a-lovely

"This is a lovely & thoughtful essay on the messiness of teaching and learning, an alchemy endangered by efficiency & automation."]]]></description>
<dc:subject>seanchoa teaching howweteach colleges universities highered highereducation ai artificialintelligence messiness learning howwelearn listening error silence memory experience conversation presence knowing understanding explanation chatbots delay slow slowteaching attention friction efficiency optization canon</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:16d520fb12c8/</dc:identifier>
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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>
<item rdf:about="https://www.koozarch.com/interviews/high-resolutions-catalina-meja-moreno-and-antonio-bermudz-obregn-on-reclaiming-language">
    <title>High Resolutions: Catalina Mejía Moreno and Antonio Bermudéz Obregón on reclaiming language – KoozArch</title>
    <dc:date>2025-09-15T01:33:13+00:00</dc:date>
    <link>https://www.koozarch.com/interviews/high-resolutions-catalina-meja-moreno-and-antonio-bermudz-obregn-on-reclaiming-language</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this conversation between two Colombian practitioners, we explore language and mapping as tools that have been used to systematise and oppress – yet which can be expanded and unlocked."]]></description>
<dc:subject>language maps mapping antioniobermudéz-obregón catalinamejíamoreno federicazambaletti koozarch colombia indigeneity indigenous place method vocabulary words reading howweread knowledge territory decolonization colonialism colonization legibility illegibility plants text texts bogas history landscape understanding glossaries collectivity collectivism generative friction action bodies cosmovision latinamerica dominance domination surveillance resolution</dc:subject>
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<item rdf:about="https://www.theatlantic.com/sexes/archive/2013/06/there-were-no-models-growing-up-in-the-70s-with-an-out-gay-dad/276490/">
    <title>'There Were No Models': Growing Up in the 70s With an Out Gay Dad - The Atlantic</title>
    <dc:date>2025-09-09T03:45:33+00:00</dc:date>
    <link>https://www.theatlantic.com/sexes/archive/2013/06/there-were-no-models-growing-up-in-the-70s-with-an-out-gay-dad/276490/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When I was in high school, he said our needs mixed "like fire and oil." It was a way to understand how what was going on with us and explain to me how he viewed parenting. Parenting is like authorship. An author works with language, but language comes charged. Words have their own meaning and associations and the author has to balance shaping that language with the already-charged nature of that language. Language completely unfettered—that is, words without any order—wouldn't make any sense. As a parent, he didn't want to squash my energy but he also knew I needed some order. I think it's a universal issue in parenting: how much do you take control and how much do you let your child make their mistakes?"

[archived:
https://archive.ph/Vbkqe ]]]></description>
<dc:subject>hopereese alysiaabbott parenting steveabbott 2013 1970s 1980s sanfrancisco children parents authorship language writing howwewrite words understanding</dc:subject>
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    <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://medium.com/@mackinnon.jesse/no-one-left-to-talk-to-loneliness-in-the-age-of-algorithmic-capitalism-e33e10946bc2">
    <title>No One Left to Talk To: Loneliness in the Age of Algorithmic Capitalism | by Jesse MacKinnon | Aug, 2025 | Medium</title>
    <dc:date>2025-08-20T18:09:51+00:00</dc:date>
    <link>https://medium.com/@mackinnon.jesse/no-one-left-to-talk-to-loneliness-in-the-age-of-algorithmic-capitalism-e33e10946bc2</link>
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    <dc:date>2025-08-20T17:58:48+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Another version here:
https://oaklandside.org/2025/08/18/teacher-deep-east-oakland-students-experts-how-power-works/ ]]]></description>
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    <link>https://aeon.co/essays/when-is-enjoying-funny-animal-videos-not-anthropomorphism</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Interpreting the emotional lives of animals requires a subtler and more nuanced understanding of anthropomorphism"]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/">
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    <link>https://www.beyondthedial.com/post/podcast-the-final-episode-through-the-looking-glass-on-philosophy-watches/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Farewell, and thank you all for listening. The Aesthetic Revolution Will Be Beautiful!"

[Also here:
https://podcasts.apple.com/us/podcast/through-the-looking-glass-on-watches-philosophy-the/id1472733566?i=1000650769924
https://open.spotify.com/episode/5q14vURgxkB0UkRIXGBbxR ]]]></description>
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<item rdf:about="https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/">
    <title>Podcast Insights E16 - Spiritual Materialism: How Watches Take On Significance and Meaning - BEYOND THE DIAL</title>
    <dc:date>2025-07-24T23:12:10+00:00</dc:date>
    <link>https://www.beyondthedial.com/post/e31-spiritual-materialism-how-watches-take-on-significance-and-meaning/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On the surface, owning a watch isn’t a complex thing. Dig a little deeper into our motives for owning any given watch, and things get complicated fast. Allen explores the mental gymnastics involved in picking out your next watch, and he explores everything from the study of human motives, to why so many watch nerds hate on Invictas, and more."

[Also here:
https://podcasts.apple.com/us/podcast/insights-e16-spiritual-materialism-how-watches-take/id1472733566?i=1000472834936
https://open.spotify.com/episode/3ZyTLTvJ8JfY9J4LJc3Dwu ]]]></description>
<dc:subject>2020 allenfarmelo watches materialism spiritualmaterialism literarytheory psychology philosophy justification symbols symbolism human behavior aristotle rhetoric motivation motives act scene agent agency purpose journalism ads advertising meaning meaningmaking attention socialmedia social aesthetics community approval introspection clans belonging instagram culturalcapital tastemakers personalbrands productengagement watchcommunity watchworld howwethink relationships ownership identity kennethburke innerlife rationality irrationality projection understanding difference reflection reasoning logic individuals individualism generalization nihilism marxism generalizations hedonism skepticism reality analysis panerai nomos italy italia pleasure thinking surfing hypotheticals perception self learning howwelearn presentationofself humans vulnerability invicta explantion watchcanon usthem sameness differentiation significance decisionmaking snobbery snobs absolutism watchsnobs judgement standards capitalism consumeri</dc:subject>
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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>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>
    <link>https://www.nytimes.com/2025/06/08/opinion/jesus-faith-god-compassion.html</link>
    <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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    <title>The Ethics of Listening to Whales – A Conversation with James Bridle, Rebecca Giggs, César Rodríguez-Garavito and Emmanuel Vaughan-Lee</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["What would happen if we broke the interspecies language barrier? What would we hear and how might we respond? More-Than-Human (MOTH) Life Collective founder César Rodríguez-Garavito, artist and technologist James Bridle, and author Rebecca Giggs come together in conversation with Emergence executive editor Emmanuel Vaughan-Lee to explore the ethical, legal, and relational implications of a new project using AI machine learning to translate the clicks of sperm whales."]]></description>
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<item rdf:about="https://dark-mountain.net/about/manifesto/">
    <title>The Manifesto - Dark Mountain</title>
    <dc:date>2025-05-04T23:42:49+00:00</dc:date>
    <link>https://dark-mountain.net/about/manifesto/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["THE EIGHT PRINCIPLES OF UNCIVILISATION

‘We must unhumanise our views a little, and become confident
As the rock and ocean that we were made from.’

1. We live in a time of social, economic and ecological unravelling. All around us are signs that our whole way of living is already passing into history. We will face this reality honestly and learn how to live with it.

2. We reject the faith which holds that the converging crises of our times can be reduced to a set of ‘problems’ in need of technological or political ‘solutions’.

3. We believe that the roots of these crises lie in the stories we have been telling ourselves. We intend to challenge the stories which underpin our civilisation: the myth of progress, the myth of human centrality, and the myth of our separation from ‘nature’. These myths are more dangerous for the fact that we have forgotten they are myths.

4. We will reassert the role of storytelling as more than mere entertainment. It is through stories that we weave reality.

5. Humans are not the point and purpose of the planet. Our art will begin with the attempt to step outside the human bubble. By careful attention, we will reengage with the non-human world.

6. We will celebrate writing and art which is grounded in a sense of place and of time. Our literature has been dominated for too long by those who inhabit the cosmopolitan citadels.

7. We will not lose ourselves in the elaboration of theories or ideologies. Our words will be elemental. We write with dirt under our fingernails.

8. The end of the world as we know it is not the end of the world full stop. Together, we will find the hope beyond hope, the paths which lead to the unknown world ahead of us."]]></description>
<dc:subject>manifestos darkmountainproject myth resilience civilization poetry collapse dougaldhine paulkingsnorth darkmountain 2009 ralphwaldoemerson robinsonjeffers fragility josephconrad bertrandrussell politics karlmarx enlightenment christianity progress salvation history overdevelopment development environment sustainability socialbreakdown crime humanity humanism class convention individualism understanding existence climatechange climate globalwarming powerlessness technology slow small bubbles fossilfuels ecocide philiplarkin consumerism consumption capitalism greens greenparty ecosystems ecology denial johnberger transcendence relgion secularism science mysticism myths rationalism scientism stories storytelling reason rationality entertainment reality narrative uncivilization degrowth inhumanism writing howwewrite wendellberry wsmerwin maryoliver cormacmccarthy geoffdyer geoffreydyer maps mapping stoicism humility questioning criticalthinking williamwordsworth morethanhuman multispecies nonhuman place roots ide</dc:subject>
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<item rdf:about="https://robhorning.substack.com/p/contentment">
    <title>Contentment - by Rob Horning - Internal exile</title>
    <dc:date>2025-05-02T18:01:19+00:00</dc:date>
    <link>https://robhorning.substack.com/p/contentment</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[""social media" has always been oxymoronic"

[referenced here:
https://2ndbreakfast.audreywatters.com/sycophancy-as-a-service/

See also:

"Just for a second I thought I remembered you
Being compelled to ask yet again, Are friends electric?"
https://robhorning.substack.com/p/just-for-a-second-i-thought-i-remembered ]]]></description>
<dc:subject>robhorning socialmedia web internet online 2025 markzuckerberg meta kylechayka whatsapp ftc media news newsfeed faceebook nicholascarr cambridgeanalytica propaganda elections politics us claudeshannon information messaging technology understanding streams platforms 2018 tv televison socialinfrastructure mediatization commercialization commodification capitalism entertainment data attention</dc:subject>
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<item rdf:about="https://www.thenation.com/article/world/chile-coup-democracy-historical-memory/">
    <title>Chile in Our Hearts | The Nation</title>
    <dc:date>2025-05-01T15:48:18+00:00</dc:date>
    <link>https://www.thenation.com/article/world/chile-coup-democracy-historical-memory/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["John Dinges’s revisionist account of Missing."]]></description>
<dc:subject>stevenvolk chile dictatorship missing 2025 johndignes film salvadorallende pinochet charleshorman frankteruggi coup 1982 richardnixon henrykissinger itt 1975 1972 1973 frankchurch democracy history revisionism thomashauser edhorman jacklemon terrysimon bethhorman joycehorman arthurcreter valparaíso viñadelmar usnavy navy raydavis us truth understanding journalism investigation murder juanguzamán 2000 2011 nationalstadium pedroespinoza rafaelgonzalez jorgezepeda 1976 joanneomang rudolfrauch augustolutz military godfreyhodgson williamshawcross lewisduiguid memory resistance fin davidhathaway marcelorubenspaiva rubenspaiva eunicepaiva fernandatorres filmmaking 1971 cinema literature oblivion justice humandignity dignity jean-lucgodard</dc:subject>
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</item>
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    <title>In Praise of the Gods - by Simon Sarris</title>
    <dc:date>2025-04-30T01:22:34+00:00</dc:date>
    <link>https://map.simonsarris.com/p/in-praise-of-the-gods</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>simonsarris 2020 rationalism rationality awe wonder descartes religion proof humnanism authoritarianism modernity modernism environment urban urbanism urbanplannign buildings architecture ritual rituals liturgy supernatural science alchemy delusions delusion socialsciences consensus scientism education mythology traditions tradition stories storytelling humanities aristotle wisdom literature myths fables understanding tv television experience intuition reasoning embodiment soceity modernart art design cities aesthetics lecorbusier heartlessness gkchesterton</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=v_44ZMoZHxI">
    <title>Remembering Pope Francis on Earth Day: How He Linked Capitalism, Climate &amp; Catholicism - YouTube</title>
    <dc:date>2025-04-22T21:36:00+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=v_44ZMoZHxI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["As the Vatican prepares the funeral for Pope Francis and church leaders begin to consider his replacement, we look at the late pontiff's environmental legacy. Pope Francis frequently called for action on the climate crisis and urged his followers to be good stewards of the Earth. He also openly criticized the role of wealthy nations and capitalism in causing the climate crisis. 

"He brought together the riches of Christian and Catholic tradition to bear with the prophetic work of social movements around the world in confronting a global crisis," says Nathan Schneider, professor of media studies at the University of Colorado Boulder."]]></description>
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<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:362d929b2efe/</dc:identifier>
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</item>
<item rdf:about="https://www.nytimes.com/2025/03/29/opinion/ai-tech-innovation.html">
    <title>Opinion | The Tech Fantasy That Powers A.I. Is Running on Fumes - The New York Times</title>
    <dc:date>2025-03-30T23:09:53+00:00</dc:date>
    <link>https://www.nytimes.com/2025/03/29/opinion/ai-tech-innovation.html</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>tressiemcmillancottom ai artificialintelligence 2025 education highereducation highered acadmia colleges universities cheating writing research howweread moocs edtech history efficiency howwethink thinking expertise criticalthinking daronacemoglu pascualrestrepo technology bubbles noise labor work workers zoom skype us policy information understanding makcuban elonmusk government governance environment finance aigoldrush aibubble techbubbles hype mooc</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=8nRVtCXqtvA">
    <title>Late Fascist Aesthetics [Katie Ebner-Landy]: A Theory of the Online Forum - YouTube</title>
    <dc:date>2025-03-24T20:25:28+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=8nRVtCXqtvA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["When we think of “early fascist” aesthetics, we think of uniforms, visual symbols, and crowds. “Late fascist” aesthetics – though not without symbols and crowds – has another tool at its disposal: the online forum. Join us to examine the use of the online forum by the contemporary far right to move from fiction to reality in ways that other political aesthetics have long dreamed of."
]]></description>
<dc:subject>aesthetics fascism 2025 katieebner-landy fascistaesthetics forums online internet web socialmedia aiaesthetics nationalsocialism nazis italy benitomussolini racism bureaucracy state mussolini authoritarianism violence enlightenment hierarchy gender families race sexism patriarchy farright india brasil brazil us albertotoscano socialcohesion authority capitalism neoliberalism culture uniforms crowds socialpractices society johannchapoutot nazism ethics ideology culturalrevolution latefascism 4chan discord gab onlineforums virtual reality 2016 2024 memes ukraine whitesupremacy donaldtrump israel palestine conspiracytheories antisemitism feminism rightwing pizzagate qanon 1993 history japan otaku identity status disaffected christopherpoole 2chan 2008 scientology greatrecession globalfinancialcrisis power anonymous wikileaks julianassange 2010 arabspring ows occupywallstreet 2012 manosphere masculinity incels depression betas neets misogyny 2013 liberalism reactionaries zoequinn games gaming videogames doxing ga</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:ffdb8e1bcda2/</dc:identifier>
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</item>
<item rdf:about="https://onethingnewsletter.substack.com/p/conversations-are-the-new-unit-of">
    <title>🟧 Conversations are the new unit of culture - One Thing</title>
    <dc:date>2025-03-18T18:38:10+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/conversations-are-the-new-unit-of</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We crave interactivity and multi-sided discussions in the podcast era."]]></description>
<dc:subject>kylechayka conversation human 2025 podcasts topeforalin joerogan gavinnewsom engagement interactivity passivity internet web online participation authenticity helievability truthfulness donaldtrump tv television video audio lexfridman karaswisher theovon shannonsharpe alexcooper callherdaddy journalism charlierose ezraklein vanlathan rachellindsay netflix johnstewart johnoliver lastweektonight thedailyshow polycrisis appletv platforms ai artificialintelligence crypto cryptocurrencies ukraine gaza palestine wwe cowboycarter tyla stephensmith manosphere culture society anxiety ambition understanding lukadončić jamellebouie media samafor live unscripted thewestwing succession gorevidal 1968 tiktok williamfbuckley softbank masayoshison cheguevara marxism truth abuse williamfbuckleyjr</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:290a42a778b7/</dc:identifier>
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</item>
<item rdf:about="https://www.basketballfeelings.com/p/empathys-expiry-date">
    <title>Empathy's expiry date - by Katie Heindl</title>
    <dc:date>2025-03-16T18:15:24+00:00</dc:date>
    <link>https://www.basketballfeelings.com/p/empathys-expiry-date</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How fear and individualism is turning our most expansive human quality finite."
]]></description>
<dc:subject>2025 empathy culture society katieheindl joelembiid nba individualism stephensmith criticism kendrickperkins kindness consideration understanding compassion respect sports basketball volodymyrzelenskyy donaldtrump softbank masayoshison cheguevara marxism truth abuse</dc:subject>
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    <title>If you ask ‘Why?’, you’re a philosopher, and you’re awesome | Aeon Essays</title>
    <dc:date>2025-01-20T03:36:20+00:00</dc:date>
    <link>https://aeon.co/essays/if-you-ask-why-youre-a-philosopher-and-youre-awesome</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Diving into the ring of darkness beyond things easily answerable, asking ‘Why?’ questions is what make humans awesome"
]]></description>
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<item rdf:about="https://www.are.na/editorial/so-you-want-to-escape-the-algorithm">
    <title>So You Want to Escape the Algorithm | Are.na Editorial</title>
    <dc:date>2025-01-17T05:34:48+00:00</dc:date>
    <link>https://www.are.na/editorial/so-you-want-to-escape-the-algorithm</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[also here:
https://escapethealgorithm.substack.com/ ]

"Instead of withdrawing, I encourage my students to dive deeper, engaging with platforms as if they were close reading a work of literature. In doing so, I believe that we can not only better understand a platform's ideological premises, but also the inevitable cracks in a rigid software logic that enables the surprising, delightful messiness of humanity to shine through. And in so doing, we might move beyond the flight response towards a fight response. Or if it is a flight response, let it be a flight not just away from something, but towards something."]]></description>
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<item rdf:about="https://www.lrb.co.uk/blog/2025/january/universal-language">
    <title>Saleem Vaillancourt | ‘Universal Language’</title>
    <dc:date>2025-01-17T05:24:49+00:00</dc:date>
    <link>https://www.lrb.co.uk/blog/2025/january/universal-language</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["‘I always like to say that Iranian cinema emerges out of a thousand years of poetry, and Canadian cinema emerges out of fifty years of discount furniture commercials,’ Matthew Rankin said at a recent screening of his movie Universal Language. I come from both countries, but it’s the furniture gag that struck home. Written by Rankin, Pirouz Nemati and Ila Firouzabadi, the film is set in a version of Canada where the official languages are French and Persian. Buildings are covered with Persian signs (one says ‘Robert H. Smith School’); carts sell cooked beets, an old Iranian staple.

When I spoke with Rankin and Nemati after the screening, they said the movie is neither Iranian nor Canadian (though it’s Canada’s submission for Best International Feature at the Oscars). Nemati, who plays a tour guide showing visitors around Winnipeg (‘this is one of the first residential structures in the historic beige district’), recalled the praise offered by one ‘Iranian grandma’ at a Toronto screening. ‘She wasn’t a cinephile, but she said she just felt the film,’ that it connected people during a time of ‘distance’. Universal Language is not didactic, Rankin said, but ‘the experience of watching it does propose a way of looking at the world, and I think that’s what people respond to.’

While Nemati plays a character based on Rankin’s father, Rankin plays Matthew (he was ‘miscast’ as himself, he said at the screening), who leaves his bureaucratic job in Quebec and travels home to Winnipeg to visit his sick mother. He’s an isolated figure. The isolation persists even when the only other bus passenger sits right beside him. Matthew swallows dozens of sleeping pills to cope with the strain. ‘We live in a time when solitude has become almost weaponised,’ Rankin told me. During the pandemic there was a hope that, after it, we would live in a world with more solidarity and less stress, he said, ‘but the opposite has happened.’

Another storyline follows two sisters, Negin and Nazgol, who find a banknote frozen in the ice. Negin needs the money to replace a friend’s pair of glasses – apparently stolen by a turkey, one of many in the film – so their psychotic teacher will let him back into class. Rankin’s grandmother found two dollars in the ice during the Great Depression. Many of the Iranian films that influenced Universal Language show children ‘encountering the desperation of adulthood’, Rankin said.

‘I liked that there was this strange echo on the other side of the world,’ he said, between his family’s history and Iranian cinema. I suggested that Universal Language speaks to the strand in Iranian culture that uses the particular to speak to the universal. The ‘Iranian-ness’ in the film ‘is not really Iranian-ness’, Nemati replied. He mentioned the Saadi poem at the entrance to the United Nations building in New York. ‘Persian poetry became universal because it wasn’t Iranian any more,’ he said. ‘Winnipeg, in Persian, loses itself and finds itself again.’

According to Rankin, the film inhabits ‘this new third space ... at the confluence of different stories and experiences and understandings and baggage, and that’s what’s fun about the movie. It doesn’t belong in one Tupperware container that is sealed off from all other Tupperware containers.’

I’ve known for a long time that, when I’m with Canadians, I feel more Iranian; when I’m with Iranians, I feel more Canadian. A life lived in halves. Thirty minutes into Universal Language, Matthew’s bus breaks down and he begins a long cold walk into town. A mournful 1970s Persian ballad strikes up. He walks past the stall selling the stewed beets. I may have understood only snatches of the lyrics, but for a few moments there were no Tupperware containers here."]]></description>
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<item rdf:about="https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human">
    <title>94 practical and emotional human experience optimising recommendations for 2025</title>
    <dc:date>2025-01-01T23:37:28+00:00</dc:date>
    <link>https://humancarbohydrate.substack.com/p/94-practical-and-emotional-human</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I know you all want to be told what to do

The transition from age 20 to age 30 is brutal, both mentally and physically. Many people leave their prime behind while others only now enter it. The former become older and heavier not in body but in spirit. I am going through a second puberty and am skinnier than I was in uni, so you should obviously listen to me.

I have padded out my hysterical advice with milquetoast (but effective) tips so that only those of you with enough dopamine to read the whole thing get them. I don’t every zombie normie freaking out in the comments section.

1. People either pursue an interesting or a happy life (that does not mean you are either boring or miserable; it means these values guide your decision-making). Penelope Trunk has a test I came across years ago. People who fall in the ‘interesting’ camp move away from family for career reasons, are maximisers of looks, status and experiences, have strong opinions and diverse friendship groups, are interested in experimenting and are predisposed to melancholy. Happy people want to be content. Interesting people suffer from existential angst. People who are great at something are obsessives to the detriment of ‘happiness’.

2. The pursuit of happiness alone will make you miserable. Happiness is the by-product of pursuing loftier goals.

3. Find the perfect word; don’t be lazy in speech or writing. People long to be described accurately.

4. You earn the right to be yourself by consistently withstanding people’s reactions to you.

5. Use everything. Don’t save outfits, stories, or bottles of wine. Don’t worry about using garments that stain easily if you love them. White looks lovely on tanned skin.

6. I guarantee you will fall in love with anyone you give your undivided attention to. If you struggle to enjoy human interactions, pay closer attention. Nobody is boring.

7. All villains are redeemable. Even you.

8. Take as much career risk as your health allows, not as much risk as your anxiety dictates is safe. If your genes survived past the 21st century, it is highly unlikely you are wired to enjoy a mundane life. I know many rich, depressed lawyers.

9. If your parents can afford to pay your rent you have 0 excuse for not living a creative life.

10. If not, know that art craves boundaries. Art loves nothing more than a deadline and no desk to write on. Adversity gives you stories. Every great artist had a struggle. Nobody cries looking at nepo babies taping rotting fruit on a canvas.

11. Arguing with someone can be a sign of respect. Someone respects you enough to think they can reason with you and are confident enough in their relationship with you to know it can withstand disagreement. Confrontation is a net positive.

12. All people have something interesting to tell you if only you know to ask the right questions. My favourites are:

a. What were you like in high school?

b. What’s your favourite dish/movie and why?

c. What’s your zodiac sign (confirm whether the characteristics of their sign are true for them)?

d. What’s your relationship with your family like?

13. Many people want to be writers, but not many people want to spend hours and days typing alone. The same goes for all professions, arts, hobbies.

14. Find the exquisite pleasure in a broken heart. Like a baby tooth hanging by its last ligament, the heart yearns to be pulled apart. Some people are melancholic by nature. Those who fight this nature tend to become depressed easily. Those of us who embrace it write really good love letters.

15. There is only one way to be loved for who you are: to be hated for who you are not. It is better to have 10 people who hate you and 10 who love you than 20 who don’t feel anything when they see a photo of your 4-year-old self in striped pyjamas bouncing on Santa’s knee.

16. Looking sexy is incompatible with looking uncomfortable. This goes for both men and women. However, sometimes you need to be a little cold. Never wear tights with over the knee boots. The girls from The North have a point.

17. Walk everywhere and eat a lot of protein, that’s the secret to a ‘high metabolism’.

18. Nuts and legumes and don’t have enough protein: eat skyr, greek yoghurt, white fish, chicken, venison and other wild meats (lower in fat and higher in protein), tuna and shrimp. If you need a snack and you are on the go, buy a tab of cottage cheese and eat it with a spoon like a yoghurt. If you want it to be sweet, buy the pineapple-flavoured one.

19. The sooner you learn not to care about people staring at you, the more productive, joyful and easy your life will become. Whether you are eating a tub of cottage cheese on the bus or wearing your Pikatsu onesie to the corner shop, there is great pleasure in the confidence to ignore society’s unwritten rules.

“People are always angry at anyone who chooses very individual standards for his life; because of the extraordinary treatment which that man grants to himself, they feel degraded, like ordinary beings.” — Friedrich Nietzsche

20. As soon as possible in your life, learn why some people love vegetables. Befriend those of us who grew up eating them out of love, not punishment. The secret is usually good olive oil, a LOT of lemon, and salt. Blanch or steam, don’t boil. Don’t overcook.

21. Buy people coffee and drinks whenever you can; they may not always reciprocate, but you are not doing it because you need a free coffee in the future. People will forget what you tell them but will never forget how you made them feel. Our parents bought us things for free, without expectation, for the first and the longest time. People will never forget you made them feel taken care of and thought of.

22. Order chips at the pub and share them with everyone. Crunchy communal carbs are social lubrication far superior to shots.

23. When you feel grateful about something someone has done for you, text them immediately. A simple text. A check-in or a ‘I thought of you’. Don’t leave it for later because postponing things only leads to deathbed regrets. Don’t let the perfect text be the enemy of a good enough text.

24. Equally, always pay deserved compliments. If your eyes light up when you see a woman in a beautiful dress, tell her. Compliment the men, too; they look nice sometimes.

25. Never network. Make new friends.

26. A loyal and admiring junior is worth ten times the senior who doesn’t know your name.

27. Drugs fry some of the greatest minds of every generation because greatness comes from obsessiveness. Obsessive people have addictive personalities, and drugs that stimulate their brains make people who already feel like Jesus feel like Father God himself. Slowly, their speech patterns change, and they don’t really respond to what you are saying, and they don’t realise it, and then ten years later, they have a psychotic break out.

28. Also, a lot of alcoholics. My cardinal addictions were men and food, and I have channelled them into my career and fitness.

29. Don’t worry whether people invite you to their parties or over their homes for dinner. If you enjoy hosting and feeding others, you don’t need them to return the treat to feel the benefits.

30. Closeted Gays are a million times more fun after they come out of the closet. If you have friends from the past who you sense might be gay and who you distanced yourself from over the years because you did not feel connected enough, give them another shot once they are out to themselves and the world because normally, they transform into full humans after that and a lot of their shortcomings make more sense in the context.

31. Bonus point: If you fancy or fancied me at any point, there is a 70% chance you are bi/gay. Data don’t lie, look into it.

[image: "me and one my many gay ex-boyfriends outside our high school"]

32. If you can’t organise your kitchen in a way that doesn’t make cooking an infuriating task, you have too much stuff. You don’t need two cheese graters. You should not need a hazmat suit to open your cupboard.

33. To boost your self-confidence, buy personal training sessions rather than new clothes and expensive make-up. Fit people look good in anything. It’s hard not to love your body when you spend time working with it.

34. Generally, spending money on things is the least effective way to use your money to improve your appearance and attractiveness. The most effective ways (descending order) are diet, exercise, cleanliness, a good haircut, learning what suits your skin tone and body shape, wearing the correct size, taking a few deep breaths, relaxing your eyebrows and lips, pushing your shoulders down and straightening your back, not fidgeting or playing with your hair, letting your locks frame your face as they please, loosening up your belt, shoe strings, top button, steaming/ironing your clothes.

35. Most people need to size up in clothing and won’t do it either because they are attached to the size they were wearing in college or because they don’t realise that ‘I can pull the zipper up’ is not the definite cue that something is the best size for you. I wear a UK size 12 (US size 8), and curiously, 90% of my friends wear smaller sizes than me. Reader, I am not the biggest in my social circle but I am the most effective looks maximiser. Some men need to size down, but it’s rare.

36. If you want to smile for a photo or to conceal your inner existential dread, touch your tongue behind the top row of your teeth. It makes your smile look genuine, and your eyes light up. I read it in Cosmopolitan when I was 13 and never stopped doing it. It is a handy trick if you are mercurial and don’t want to spend a whole night telling people everything is fine because the gothic novel princess in your brain would rather have stayed under the duvet.

[image]

37. Your habits become your character and as you can change your habits, you can also change your character. You can reinvent yourself whenever you want. Do the things the person you want to be would do.

38. Don’t ask people whether they think you can do something, ask them how to do it instead.

39. If someone gives you negative feedback, react calmly and gratefully, even if you disagree. You want them to feel comfortable to do it again. Reward those who engage in social behaviours that risk their social standing but ultimately benefit your personal development. Don’t shoot the messenger. Get a link for anonymous feedback.

40. If there is no food left over, someone is still hungry.

41. Always be ready to be seen naked, it doesn’t matter if you never have casual encounters. You deserve presentable underwear every day and sexual vigor is a sign of a thriving organism.

42. Don’t listen to people triggered by phone-yielding youths; take hundreds of photos of your friends and times together. It will boost dopamine every time you flicker through your album.

43. Take candid photos of people and send them to them. Even strangers! When you go on holiday abroad, photograph a couple kissing and ask them to airdrop their photo. They will be so grateful.

44. Infatuations are to be enjoyed twice. The first time is when they are felt. The second is when they are confessed. Tell them and remember point number 10 above.

45. Don’t worry about boosting other people’s egos because they think you fancy them more than you do. Romance is not a blinking match. Infatuations are selfish acts. We tell people we want them because we will burst if we don’t, what they do with it is none of our business.

46. If you want to know how someone judges you, notice what they criticise about others when they gossip with you. Remember that this is also how they judge themselves.

47. Everyone is looking for free therapy, whether they know it or not. Time your pauses generously after each question.

48. Envy is my favourite feeling. I am awash with excitement when I feel it. It’s my subconscious’s way of showing me what I want. Now I can go out and get it.

49. My second favourite feeling is desperation in myself and in others. Don’t be repelled by it; receive it and channel it. People live lives of meekness out of fear of exposing their wants. Underpinning this is the lack of belief they can get what they want once they’ve said they want it. To want and to not get is a universal human condition, and it is that universality that makes it romantic and timeless, not sad and pathetic as its bearers fear. We are all in the gutter, but some of us are looking at the stars.

50. Don’t distance yourself from people because they are better looking or more privileged in material ways unless they are obnoxious about it. Having hot, rich friends is a superpower.

51. If you don’t want to live life anxious, people will abandon you when you are poor, sick or sad; don’t abandon people when they are poor, sick or sad. Superpower.

52. Generally, the more you are afraid people will judge you about something, the more likely it is you judge others by that value. If you don’t value, say, unearned wealth, then you should be pretty chill about people finding out you never went abroad until you went to uni.

53. 70% of looking presentable is being very very clean.

54. Most people go to grad school because they don’t know what to do with their lives. Your parent's money is better spent investing in your new business. If you don’t know what business that could be…

55. ….get a job, any job you can and pay close attention to which parts of it you enjoy and hate, what comes easier to you than your colleagues and what comes harder. Then, find another job based on those.

56. Life is too short to fight your sensitivities and proclivities. Don’t be embarrassed by what moves you, and ignore the repressed people who are jealous you are living an honest life.

57. Usually, when people are repeatedly triggered by a specific attribute in people (e.g. insecurity, snobbism, vanity, selfishness), it is because they are aware they have it too.

58. Men are good at arguing, and women are good at manipulating. Women need to learn to fight back and not flee a fight, and men need to learn to be subtle and play the long game.

59. One time in your life, read a bunch of self-help books. Do it once: finance, fitness, career etc. Do everything they say: set up your savings account/pension/investment scheme, start weightlifting, clear out your closet, fold everything Mary Kondo style etc. Then, never read another self-help book in your life.

60. There may be people you were very fond of in your life but who find it hard to be around once your lives take different turns. You might be a painful reminder of the person they could have been but aren’t. Leave the door open if you want but let them go in peace.

61. If your friend or partner is upset, ask them if they want solutions or a listening ear before you autistically ruin the vibe.

62. When I ask friends for feedback on my writing, and they comment on the story or commiserate me on something that sounds sad- I don’t care. I am more interested in knowing if they found the writing entertaining, nourishing or moving. If someone asks you to critique their art, gauge what they want. Many people crave encouragement. A few crave the candid and withering feedback.

63. Good career advice for many women is never to learn to do the things you don’t want to continue doing. I am useless with working diaries and Excel sheets, but you can always count on me to give a speech or chair a panel.

64. Also, always learn to do the technical things only a handful of men in the team know how to do. In one of my initial campaigns, I lasted longer than most other staffers because I insisted that the only man in our group who could program the backend of our new app and handle the data inputs and outputs to teach me how to do it too. I ignored his protests that it would be quicker for him to handle it than teach me. When the time came for our next assignment, only two out of tens of staff members were diploid to the next state: me and the dipshit. The girls who were very good at separating the recycling got sent home.

65. There is no escape from suffering. You can either suffer because you love someone or something or because you don’t love anyone and anything. Decisions, decisions, decisions.

66. Splurge on what you use daily; save on what you use once a year. Buy the best-fitting fucking jeans. Don’t worry about buying heels; remember, you can’t dance in them.

67. Don’t say you hate your job if you actually love it. Don’t say you love it if you actually hate it. Resist the temptation to lie when people ask you how you are doing, but if the answer is genuinely that you are tired, stressed or bored all the time, then ask yourself what would need to change for you to feel energised, motivated, and engaged. Whenever someone asks me if I like my career, it is an opportunity to remind myself how grateful I am.

68. Misery loves company; don’t take advice from people whose lives you don’t want to emulate. One of the most miserable married women I know (my mom) is sending me Pew Research Marriage Makes People Happier studies.

69. The cure to hate is curiosity.

70. Something is only a problem if it makes you feel bad. Eating healthy is very different from ‘dieting’.

71. Become people’s safe space by controlling your reaction when you witness them being humiliated or confessing something embarrassing. Many people’s nervous systems are fried from being raised by reactive parents. The reason people keep their struggles or shameful moments secret, with compounding detrimental long-term effects, is because they still have the emotional composition of a toddler eager to please their elders. If you want to enshrine emotional resilience in someone, model stoic acceptance of life’s rollercoaster. Whatever it is, we will work through it.

72. If you get a baby pet, say a puppy or kitten, take a million photos and videos of them while they are still small. Presumably, the same goes for baby humans, but what do I know.

73. Embrace responsibility, act like you, and you alone must save the world. If the world’s lost, it’ll be on you.1

74. If you don’t know what to write about, stop stopping yourself from writing what you are thinking. There is a reason I mostly write about men, careers, and mom. Most people hate writing because when they try to do it, they force themselves to write what they think will make them look good: a topic that makes them sound serious, an argument that makes them sound deep. Who are they kidding? Most of people’s minds are in the GUTTER. WRITE ABOUT THAT.

75. Be the first on the table to put down your knife and fork and use your fingers when the dish craves it. Others will silently thank you.

76. Do you fancy them, or do you want to be them? If it’s the latter, don’t fret; copy them.

77. Don’t use rich men for money; use them for access.

78. Never order takeaway alone. Buy a steak and a bag of salad. Come to think of it, never order take away, ever, unless you feel nostalgic. Buy two steaks and a bag of salad.

79. Enjoy the power and beauty of your youth. [https://www.goodreads.com/quotes/40501-enjoy-the-power-and-beauty-of-your-youth-oh-nevermind ] Oh, never mind. You will not understand the power and beauty of your youth until they've faded.

80. If a social situation needs to claim an ego, offer up your own. People feel subconscious loyalty to those who let them save face.

81. Don’t worry about powerful men chasing you and then hanging you out to dry. Let them think they humiliated you. Men who are not psychopaths but have leadership qualities feel terrible when they know they hurt women. Don’t try to take revenge; let the situation cool off and use them for favours for the rest of your life.

82. Proactively give positive feedback to people excelling at something for a long time. People stop acknowledging excellence when you break into the top, but even Obama craves to know that his speech went well.

83. When someone posts online about a relative or friend dying or some other personal misfortune, message them immediately with a simple offer of sympathy. Don’t worry if you don’t know them well enough. The result of people looking for the perfect reaction to people’s grief is that we leave the grieving to struggle alone.

84. Sometimes, people need you to mirror their feelings to feel heard; other times, they need you to calm them. Know which friend will give you which, too, if you want to let your feelings flow with a friend. If I am distressed, I don’t want to be with people who will mirror my emotional state because that makes me feel worse. Equally, if I am very excited about something, I don’t want to confess it to the friend who asks rational, practical questions about every update.

85. Whether you think you can or can’t do something: you are right. A lot of success is about ambition more than it is about skill or even hard work. Most people don’t even apply.

86. Men and children love red dresses, lips and nails. Find the crimson shades that suit your undertones and overtones and wear them liberally.

87. Wear at least 2 different primers under your foundation.

88. Buy professional shampoo and conditioner.

89. Start a blog. [https://blog.penelopetrunk.com/penelopes-guide-to-blogging/ ] A private journal is not good enough because you won’t do it. It doesn’t matter if nobody reads it at first or ever. You are not writing to make money but to force yourself to structure your thoughts. Self-discovery will make you richer in the long run. People assume those who express more know more. Studies show individuals who speak more during group interactions are likelier to be viewed as leaders, independent of what they say.

90. The most comforting relief of grief destined never to resolve itself is to think of everyone else suffering the same pain. If you don’t think suffering brings you closer to God, know it brings you closer to mankind.

91. Dressing down when you are a regular glamazon is a power move. Every now and then, show up to a party in jeans and a crop top to keep them guessing.

92. The sexiest recipe in the universe: chicken thighs in cream and tarragon (Jay Rayner has the best recipe).

[image]

93. Hang around people significantly younger and older than you. Pick a few and develop close friendships with them. Feed off the energy of the young and soak the wisdom of the old.

94. Finally, someone in my feedback link said I am obsessed with status (brother, you are telling me?), but I have found status to be a poor motivator for any habit that sticks. If the 12 years of adulthood have taught me anything about self-improvement and discipline is that the only effective motivation to do anything is to take care of others. Get fit, make money, and amass clout and social influence, all in the hope that if you find yourself driving down the highway, you won’t speed past the wounded dog. Everything else falls off the wagon."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=R-5mecyWUgI">
    <title>Entre partículas y palabras. Física y literatura en la construcción de la realidad - Javier Argüello - YouTube</title>
    <dc:date>2024-11-23T20:01:14+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=R-5mecyWUgI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A partir de sus visitas al acelerador de partículas del CERN, el centro de investigación de física de partículas más grande del mundo, y de las conversaciones mantenidas con los renombrados físicos que allí trabajan, el escritor Javier Argüello abordó el fascinante momento que está viviendo la física y los límites con los que se está encontrando. También revisó qué tienen que decir al respecto las estructuras literarias como fórmulas capaces de incluir el papel de la conciencia en la construcción de la realidad.

Presenta Colbún y Coopeuch. Proyecto financiado por PAOCC"]]></description>
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<item rdf:about="https://aeon.co/essays/to-understand-physics-we-need-to-tell-and-hear-stories">
    <title>To understand physics, we need to tell – and hear – stories | Aeon Essays</title>
    <dc:date>2024-11-03T22:25:49+00:00</dc:date>
    <link>https://aeon.co/essays/to-understand-physics-we-need-to-tell-and-hear-stories</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Don’t be intimidated by physics: it is made of stories and metaphors. Learn these and the field will open up to you"]]></description>
<dc:subject>physics 2024 jamiezvirzdin stories storytelling metaphor metaphors science historyofscience literature ethics behavior understanding howwelearn learningn robertresnick alberteinstein scientificmethod history</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=Flp1QeOdjDY">
    <title>Losurdo's Western Marxism with Gabriel Rockhill</title>
    <dc:date>2024-10-12T06:59:16+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Flp1QeOdjDY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In this episode Gabriel Rockhill returns to the show to discuss the publication of Domenico Losurdo's book, 'Western Marxism: How it was Born, How it Died, How it can be Reborn.' Which was recently published in English for the first time on Monthly Review Press. 

From the MR book description:

"Western Marxism: How It Was Born, How It Died, How It Can Be Reborn is a paradigm-shifting book that provides a trenchant critique of the Western left intelligentsia. It reveals how its dominant ideological orientation—characterized by defeatism, utopianism, and anti-communism—is rooted in the political economy of imperialism. Internationally acclaimed theorist Domenico Losurdo thus provides a fresh and challenging perspective on purportedly radical thinkers who have been widely promoted in the imperial core, including those affiliated with the Frankfurt School, French Theory, and operaismo, as well as Hannah Arendt, Giorgio Agamben, Michael Hardt, and Slavoj Žižek, among others. His critique also has wide-reaching implications for trend-setting discourses inspired by this coterie of intellectuals, from postcolonial and decolonial theory to subaltern studies and beyond. Far from being a negative undertaking, however, this book is grounded in the positive project of reigniting anti-imperialist Marxism.

As a complement to the Italian edition of Western Marxism, this first-ever English translation also features the unprecedented publication of a major lecture that demystifies “Western Marxism” and its role in imperialists’ efforts to denigrate the achievements of actually existing socialism. Raising the stakes of what it means to produce critical theory, Western Marxism will surely provoke wide debate and a reevaluation of hallowed canons."

Gabriel Rockhill is a philosopher and activist who has published nine books. He is the Founding Director of the Critical Theory Workshop and Professor of Philosophy at Villanova University.

You can find many videos, interviews, and lectures with Gabriel Rockhill on the Critical Theory Workshop's Youtube Page:
https://www.youtube.com/@criticaltheoryworkshop5299 "]]></description>
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    <title>Ed Yong, Journalist/Author - XOXO Festival (2024) - YouTube</title>
    <dc:date>2024-10-11T02:33:47+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=ddy5uMdzZB8</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Avid birder and Pulitzer-winning science journalist Ed Yong built a devoted audience for his deeply empathetic coverage of the pandemic for The Atlantic, while his two New York Times bestsellers, I Contain Multitudes and An Immense World, shared his curiosity about life on Earth at all scales.

Ed's official homepage: https://edyong.me/
Subscribe to his newsletter: https://buttondown.com/edyong209
Buy his books: https://bookshop.org/search?keywords=%22ed+yong%22
His reporting for The Atlantic: https://www.theatlantic.com/author/ed-yong/
Audubon Society on the Spoonbill Club: https://www.audubon.org/magazine/new-birding-club-wants-help-covid-long-haulers-safely-enjoy-nature-together "]]></description>
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    <title>Maps of Meaning | Commonweal Magazine</title>
    <dc:date>2024-10-10T21:07:13+00:00</dc:date>
    <link>https://www.commonwealmagazine.org/maps-meaning</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Is ideology more than just an orienting worldview?"]]></description>
<dc:subject>ideology alexanderstern philosophy howwethink belief jasonblakely psychology humans human understanding compass power politics division johnlocke jürgenhabermas marxism karlmarx meaning meaningmaking sensemaking habermas compasses makingsense</dc:subject>
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    <title>William Kentridge Interview on 'The Refusal of Time' - YouTube</title>
    <dc:date>2024-10-10T18:17:53+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=mX_Qe2HKuEA</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How can we get a hold of time with our body and mind? This question is the crux of South African artist William Kentridge’s immersive installation ’The Refusal of Time.’ Join the artist for a detailed tour of his pulsing, breathtaking work.

‘The Refusal of Time,’ 2012, is an immersive installation and a meditation on time, space and the complex legacies of colonialism and industry. A multi layered work packed to the brim with references - to early cinematic history, and the science and philosophy of time and images - the work combines visually seductive imagery, sculptural objects, megaphones and sound. ”It’s not a scientific lesson in time,” explains the artist. “But it uses the metaphors scientists use when they’re doing their deepest thinking about time.” Therefore references to Einstein’s theory of relativity and figures like black holes - “a space in which everything disappears, a way of talking about death” - feature throughout the work.

Kentridge uses cinema as ”an artistic, mechanical and optical means of playing with time,” to show time materialized. Cinema can slow time down, replay it, hold it, run it backwards, and by employing these techniques of making time visible, the work shows time, and essentially the trudge of a human life, as “a series of predictable, unremarkable actions that continue until we are worn out.” But within that frame there are also refusals says Kentridge. “Those moments of coherence, of understanding and changing the world, which is the most we can hope for.”

Fragmented and futile in its story telling, ‘The Refusal of Time’ also references the painful histories of colonial wars and anti-colonial revolts in the context of time. In the colonial era the imposition of European time in the colonies was a means of control, Kentridge explains. “The resistance towards time became a metaphor for other kinds of resistance towards other forms of political control.” “In the end” – the artist says polemically – ”the project isn’t really about time. It’s much more about to what extent do we escape our fate? To what extent are we heading towards our fate whether we like it or not? Can we change the world on our way or is this all illusory?”

William Kentridge (b. 1955) is a South African filmmaker, draughtsman, and sculptor. He has produced both animation, set design and sculpture as directing operas at the Metropolitan Opera in New York, USA, and the Royal Opera House in London, UK. His work has been shown around the world, e.g. at dOKUMENTA 10, 11 and 13 Kassel, Germany, the 1999 Venice Biennial, Italy, the Metropolitan Museum and the Museum of Modern Art, New York, USA, the Louvre, Paris, France, and Louisiana Museum of Modern Art, Denmark. Kentridge’s work is held in numerous private collections worldwide and he is the recipient of many prestigious awards such as the 1999 Carnegie Medal, the 2010 Kyoto Prize and the 2013 Commandeur des Arts et des Lettres.

William Kentridge's installation 'The Refusal of Time' is a collaboration with composer Philip Miller, filmmaker Catherine Meyburgh & Peter Galison, professor of the history of science and of physics at Harvard University. The work is part of the exhibition ’Thick Time’, at the Louisiana Museum of Modern Art, 16 February – 18 June, 2017. William Kentridge’s installation is also part of the Louisiana Collection.

This video also features extracts from 'Making Time', 2011, a film about the making of 'The Refusal of Time', filmed and edited by Catherine Meyburgh.

William Kentridge was interviewed Christian Lund in the installation of ‘The Refusal of Time’, at the Louisiana Museum of Modern Art, in February 2017.

Camera: Jakob Solbakken
Edited by: Klaus Elmer
Produced by: Christian Lund
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017

Supported by Nordea-fonden"

[See also:
https://louisiana.dk/en/exhibition/kentridge-the-refusal-of-time/

https://www.kentridge.studio/william-kentridge-projects/the-refusal-of-time/

https://www.sfmoma.org/exhibition/william-kentridge-refusal-time/
https://www.sfmoma.org/theme/on-william-kentridges-the-refusal-of-time/
https://www.sfmoma.org/watch/william-kentridge-refusal-time/

https://www.metmuseum.org/art/online-features/metcollects/the-refusal-of-time

https://www.youtube.com/watch?v=izc7yqJDlB4

https://www.theguardian.com/culture/australia-culture-blog/2014/feb/21/william-kentridge-the-refusal-of-time-interview ]]]></description>
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    <link>https://www.experimental-history.com/p/is-psychology-going-to-cincinnati</link>
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<item rdf:about="https://placesjournal.org/article/little-big-worlds-miniaturk-theme-park-istanbul-turkey/?cn-reloaded=1">
    <title>Little Big Worlds: Istanbul’s Miniatürk Theme Park</title>
    <dc:date>2024-09-25T05:03:32+00:00</dc:date>
    <link>https://placesjournal.org/article/little-big-worlds-miniaturk-theme-park-istanbul-turkey/?cn-reloaded=1</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A theme park in Istanbul shrinks what is otherwise too gigantic to comprehend, transforming visitors into citizens and sultans of an imaginary Turkish time and narrative."
]]></description>
<dc:subject>istanbul scale ozayrsakiijee 2024 understanding themeparks size geography turkey miniatürk orientation landscape perspective politics türkiye</dc:subject>
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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>The Last Ice Age – Emergence Magazine</title>
    <dc:date>2024-08-31T02:18:41+00:00</dc:date>
    <link>https://emergencemagazine.org/film/the-last-ice-age/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For storyteller Andri Snær Magnason, climate change is like a black hole: it’s larger than language. Retracing his grandparents’ annual journey to Iceland’s Vatnajökull glacier, he seeks stories that can help him understand our crisis.

As storyteller Andri Snær Magnason puts it, climate change is like a black hole: so big it’s larger than language. We understand it not by looking straight at its center, but by looking at its edges. On a journey retracing his grandparents’ annual spring pilgrimage to Iceland’s Vatnajökull glacier, Andri searches for the stories that lie at the edges of our climate crisis in both scientific data and his family’s memories. Witnessing the inevitable decline of Europe’s largest ice cap with his son Hlynur, Andri pulls on the ties of love that connect past and future generations to grasp what the immense changes he has seen in just one lifetime will mean for the future of the planet.

Director
Adam Loften is an Emmy- and Peabody Award–nominated filmmaker and producer of virtual reality experiences and podcasts. His films include Sanctuaries of Silence, The Atomic Tree, Counter Mapping and Welcome to Canada. His work has been featured on PBS, National Geographic, The Atlantic, and The New York Times.

Director
Emmanuel Vaughan-Lee is an Emmy- and Peabody Award–nominated filmmaker and a Sufi teacher. His films include Earthrise, Sanctuaries of Silence, The Atomic Tree, Counter Mapping, Marie’s Dictionary, and Elemental. His films have been screened at New York Film Festival, Tribeca Film Festival, SXSW, and Hot Docs, exhibited at the Smithsonian Museum, and featured on PBS POV, National Geographic, and New York Times Op-Docs. He is the founder and executive editor of Emergence Magazine."]]></description>
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    <title>Echo Chambers, Explained - YouTube</title>
    <dc:date>2024-08-22T01:10:26+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=lMQJrNbgGIo</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sources:
Overview: What Is Media Literacy, Who Cares, and Why?, Gretchen Schwartz
RISE, DECLINE, AND RE-EMERGENCE OF MEDIA LITERACY EDUCATION IN THE UNITED STATES: 1960-2000, Ranjit Tigga
Echo Chambers and Epistemic Bubbles, C. Thi Nguyen
Understanding New Media Literacy: An Explorative Theoretical Framework, Tzu-Bin Lin, Jen-Yi Li, Feng Deng and Ling Lee
Why We Call Things 'Porn', C. Thi Nguyen"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["For far too long, medicine has ignored the valuable insights that patients have into their own diseases. It is time to listen'
]]></description>
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    <title>Added by @havenwatchco Instagram post Before grad school there were some folks I simply Could Not Get, mostly because I was a punk 22-26 yr old who thought the past was only good to be burned to see a way forward with, and who believed traditional, classi</title>
    <dc:date>2024-07-01T07:17:21+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Before grad school there were some folks I simply Could Not Get, mostly because I was a punk 22-26 yr old who thought the past was only good to be burned to see a way forward with, and who believed traditional, classic skills were passé+to be buried. A dear friend of mine—who I didn’t like when I met her, and whose work I at first arrogantly dismissed for its lack of pomo pyrotechnics—gave me, slowly, an entrance into Munro’s work. I’ve never escaped since it clicked, and have never tried to. I will spend the rest of my life gladly failing to understand how she made such magic. She was among the absolute best+if you’ve not read her yet, boy am I jealous."]]></description>
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</item>
<item rdf:about="https://mcluhan.substack.com/p/reading-and-understanding-media">
    <title>Reading, and Understanding Media - by Andrew McLuhan</title>
    <dc:date>2024-07-01T01:18:27+00:00</dc:date>
    <link>https://mcluhan.substack.com/p/reading-and-understanding-media</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A guidebook, and poetry more than prose, Marshall McLuhan's 1964 work remains one of our best resources for exploring the nature and effects of new media. It's not an easy read, so I'm going to help."
]]></description>
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</item>
<item rdf:about="https://pages.gseis.ucla.edu/faculty/agre/how-to-help.html">
    <title>How to help someone use a computer</title>
    <dc:date>2024-03-17T18:59:06+00:00</dc:date>
    <link>https://pages.gseis.ucla.edu/faculty/agre/how-to-help.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via:
https://twitter.com/visakanv/status/1769165277726728539

"this is a 1996 guide on how to help someone use a computer. it’s strikingly resonant with ‘how to be a parent’, or really ‘how to help anyone with anything’. a nice example of “the universal within the particular”"

https://twitter.com/rsnous/status/1751632383655268725"]

"Phil Agre
http://polaris.gseis.ucla.edu/pagre/

Computer people are fine human beings, but they do a lot of harm in the ways they "help" other people with their computer problems. Now that we're trying to get everyone online, I thought it might be helpful to write down everything I've been taught about helping people use computers.
First you have to tell yourself some things:

Nobody is born knowing this stuff.

You've forgotten what it's like to be a beginner.

If it's not obvious to them, it's not obvious.

A computer is a means to an end. The person you're helping probably cares mostly about the end. This is reasonable.

Their knowledge of the computer is grounded in what they can do and see -- "when I do this, it does that". They need to develop a deeper understanding, but this can only happen slowly -- and not through abstract theory but through the real, concrete situations they encounter in their work.

Beginners face a language problem: they can't ask questions because they don't know what the words mean, they can't know what the words mean until they can successfully use the system, and they can't successfully use the system because they can't ask questions.

You are the voice of authority. Your words can wound.

Computers often present their users with textual messages, but the users often don't read them.

By the time they ask you for help, they've probably tried several things. As a result, their computer might be in a strange state. This is natural.

They might be afraid that you're going to blame them for the problem.

The best way to learn is through apprenticeship -- that is, by doing some real task together with someone who has a different set of skills.

Your primary goal is not to solve their problem. Your primary goal is to help them become one notch more capable of solving their problem on their own. So it's okay if they take notes.

Most user interfaces are terrible. When people make mistakes it's usually the fault of the interface. You've forgotten how many ways you've learned to adapt to bad interfaces.

Knowledge lives in communities, not individuals. A computer user who's part of a community of computer users will have an easier time than one who isn't.

Having convinced yourself of these things, you are more likely to follow some important rules:
Don't take the keyboard. Let them do all the typing, even if it's slower that way, and even if you have to point them to every key they need to type. That's the only way they're going to learn from the interaction.

Find out what they're really trying to do. Is there another way to go about it?

Maybe they can't tell you what they've done or what happened. In this case you can ask them what they are trying to do and say, "Show me how you do that".

Attend to the symbolism of the interaction. Try to squat down so your eyes are just below the level of theirs. When they're looking at the computer, look at the computer. When they're looking at you, look back at them.

When they do something wrong, don't say "no" or "that's wrong". They'll often respond by doing something else that's wrong. Instead, just tell them what to do and why.

Try not to ask yes-or-no questions. Nobody wants to look foolish, so their answer is likely to be a guess. "Did you attach to the file server?" will get you less information than "What did you do after you turned the computer on?".

Explain your thinking. Don't make it mysterious. If something is true, show them how they can see it's true. When you don't know, say "I don't know". When you're guessing, say "let's try ... because ...". Resist the temptation to appear all-knowing. Help them learn to think the problem through.

Be aware of how abstract your language is. "Get into the editor" is abstract and "press this key" is concrete. Don't say anything unless you intend for them to understand it. Keep adjusting your language downward towards concrete units until they start to get it, then slowly adjust back up towards greater abstraction so long as they're following you. When formulating a take-home lesson ("when it does this and that, you should try such-and-such"), check once again that you're using language of the right degree of abstraction for this user right now.

Tell them to really read the messages, such as errors, that the computer generates.

Whenever they start to blame themselves, respond by blaming the computer. Then keep on blaming the computer, no matter how many times it takes, in a calm, authoritative tone of voice. If you need to show off, show off your ability to criticize bad design. When they get nailed by a false assumption about the computer's behavior, tell them their assumption was reasonable. Tell *yourself* that it was reasonable.

Take a long-term view. Who do users in this community get help from? If you focus on building that person's skills, the skills will diffuse to everyone else.

Never do something for someone that they are capable of doing for themselves.

Don't say "it's in the manual". (You knew that.)

(This article is adapted from The Network Observer. Copyright 1996 by Phil Agre.) [https://pages.gseis.ucla.edu/faculty/agre/tno.html ]"]]></description>
<dc:subject>1996 philagre helpfulness teaching howweteach patience understanding computing computers howto</dc:subject>
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<item rdf:about="https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface">
    <title>A Body That’s All Surface</title>
    <dc:date>2024-02-29T23:50:15+00:00</dc:date>
    <link>https://www.smallpresstraffic.org/the-back-room-article/a-body-thats-all-surface</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["I am going to describe something that I think is idealistic. Idealism can be practical because the world we want must be drawn upon the world we live in, and also because it necessitates a collaboration — I imagine something different and you imagine something back."

...

"Last year I became preoccupied with Pablo Picasso, an artist whose background-level omnipresence hadn’t previously seemed to call for additional scrutiny by me. While I was writing about Picasso I wanted to listen to Erik Satie, because they were collaborators and I suppose I was trying to collaborate with Picasso, too. Satie’s compositions are interpreted and recorded by other pianists, and since I don’t know their names I imagined a terrible, infinite array, although to be honest I didn’t imagine them being particularly distinct from each other. Still, not wanting to choose the garbage record for people with bad taste, I asked my friend Jay, who does know, and he pointed me to Tamar Halperin’s angular, player piano-sounding record, Satie. That helped. Many subjects feel infinite upon first approach. Artists and their artworks unfurl continually in relation to each other, and through our own radiating entanglements. We can all play a role in describing their boundaries.

I am texting with my friends Claudia and Anne about art. I mean obviously we are gossiping about art. We are all a little bit cynical about some aspects of being in the art world. If you have ever made a pom-pom you know it’s done by wrapping a lot of string around your fingers, then tying it across the middle — thus secured, the loops are cut at the ends and the pom-pom reveals itself. My feelings about art are idealistic and cynical all bound up together. I don’t know anyone who is an artist or a writer all the time. I am an artist and a deranged kind of housewife with a lot of projects that come and go, peculiar handfuls of expertise, and an ambivalence about what other people enjoy. Most of us have two or many jobs and obligations, materializing within and without our work and connecting us to our surroundings. Our lives complicate what is art and what is not. Our friends and families understand what we’re up to, to varying degrees. We pay attention differently, to different things. We are interesting subjects and capable observers. Maybe not all of this is quite true, but I feel like it could be true."

...


"It bothers me that there is so little usable infrastructure beneath artists and so much baroque architecture built on top of us. I’m sorry to bring him up incessantly but Pablo Picasso wasn’t fucking around with artist statements. He and his buddies were hanging out, inventing new ways to use the senses, collecting poets, starting magazines when they felt like it, painting whatever, showing on the boulevard sometimes, icing out losers, reading, honestly kind of torturing each other, and so on. We should not allow our own artistic practices to be replete with inanities! They want us to describe ourselves in GRANT-WRITING LANGUAGE like we are PROJECT MANAGERS rather than to describe our ideas with the MANY VARIED LANGUAGES OF ART! This is how they make us speak THEIR desires! Participating in their strange bureaucracies is a major concession of our time that we could use for our animal purposes, to observe and make sense of the world, and to describe OUR visions. I propose that we stop playing along. I am imagining a type of degrowth, a disassembly of dominant structures, a refusal."

...

"I went through a period when I wouldn’t say art was good or bad, only that it resonated or didn’t, but I’m back to saying art is good and bad. It is fantastically good and bad. Criticism is like putting an artwork into a frame — making it more finished, more real (in that it has been beheld), while also protecting it from the elements. When art is bad, criticism can compound the failure by dressing it up. When art is good, criticism can insert the work into the art-historical record by speaking it into the world a second time, in another medium, on behalf of the artist, the artwork, and its theoretical and practical forebearers. This is a type of repetition that formalizes the audience. That good art is often ignored and bad art sometimes enshrined indicates that further experimentation is possible.

We should think of criticism as another form that is bound up with normal life, connecting what you see to what you know. To engage in criticism is to think deeply about someone else’s work in relation to one’s own sensibilities, and then to contextualize it, historicize it, and sometimes to say it’s good or bad. Art and criticism are not in a linear relation. They are interconnected modes of craft, aesthetics, and thought that extend toward an audience. There is external pressure to stay within our perceived modes, but the roles of artist, critic, and audience are overlapping, interchangeable. I am not suggesting we lie about good and bad art. I am suggesting criticism can break out of its structures and draw us closer. That it can be a means of collective demystification, for mutual aid."]]></description>
<dc:subject>2024 art artists leisurearts artleisure artcriticism criticsim humanism humans bodies senses beholding picasso howwewrite howwethink observation understanding criticism spiders creativity exploration degrowth refusal resistance artmaking making context artworld boundaries activity activities humanness framing demystification mutualaid idealism reinvention beauty poetry grants grantwriting institutions power control organizations confrontation obstacles dialogue body canon elisabethnicula pablopicasso</dc:subject>
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</item>
<item rdf:about="https://dougald.substack.com/p/helpless-growth">
    <title>Helpless Growth - by Dougald Hine - Writing Home</title>
    <dc:date>2024-02-20T19:16:02+00:00</dc:date>
    <link>https://dougald.substack.com/p/helpless-growth</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The reporting of economic growth is the everyday manifestation of a powerful cultural logic: a way of seeing and understanding the world that shapes our societies’ sense of what is real, important, possible and desirable. This logic rests on a set of interlocking assumptions which are rarely stated outright, but which, like the foundations of a building, remain hidden from view, though without them the whole structure could not stand."

...

"What we are dealing with here is the cultural logic of progress. It is a logic which has animated the moral imagination of modernity: some of the most impressive achievements of modern societies have been inspired by this logic, though the same can be said of their greatest horrors. When we begin to talk in terms of progress, we are drawn into viewing the past as simply a poorer version of the present, the future as the only direction in which we might look for a sense that change is possible, and history itself as though it were capable of being represented on a spreadsheet, its losses balanced against its gains, to produce some notional equivalent of the GDP which would allow us to say whether things are moving in the right direction and at what pace. Founded on these assumptions, the cultural logic of progress, growth and development makes possible a certain kind of knowledge and a certain sense of agency. Yet, like the courtiers in Andersen’s story of the naked emperor, those who view the world through this lens are unable to see things which are plain enough to the unassisted eyes of common sense."]]></description>
<dc:subject>dougaldhine 2024 growth farming gunnarrundgren food climatechange economics progress gdp development future agency modernity sensemaking understanding culturaldarkmatter culture degrowth makingsense</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://jjs.libraries.rutgers.edu/index.php/jjs/article/view/112">
    <title>Approaching the Jazz Past: MOPDTK’s Blue and Jason Moran’s “In My Mind: Monk at Town Hall, 1959” | Journal of Jazz Studies</title>
    <dc:date>2024-02-06T18:09:07+00:00</dc:date>
    <link>https://jjs.libraries.rutgers.edu/index.php/jjs/article/view/112</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article analyzes two approaches to the jazz past undertaken recently under the aegis of “jazz reenactment”: Mostly Other People Do the Killing’s 2014 release of Blue (a note-for-note re-performance of the Miles Davis Sextet’s 1959 album, Kind of Blue) and Jason Moran’s multi-media re-visiting of Thelonious Monk’s 1959 Town Hall Concert, “In My Mind: Monk at Town Hall, 1959.” I contend that rather than an ironic critique of the canonization of jazz, Blue is a direct product of the same tradition of understanding the past that informs such canonization. This tradition is based in an epistemology that privileges objectivity, logic, boundaries, and an obsession with naming while suspecting the subjective and what cannot be named.  Jason Moran’s “In My Mind,” however, offers a different understanding of the past, one rooted in ambiguity and connection rather than delineation and separation. I argue that this latter understanding offers a necessary critique of conceptions of the past and of self and other found in the dominant Western worldview."

[PDF:
https://jjs.libraries.rutgers.edu/index.php/jjs/article/view/112/88 ]]]></description>
<dc:subject>tracymcmullen 2016 2014 1959 mostlyotherpeopledothekilling music jazz borges theloniousmonk milesdavis jasonmoran objectivity logic boundaries obsession naming criticism canonization understanding</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2021/09/13/a-cautionary-tale-about-science-raises-uncomfortable-questions-about-fiction">
    <title>Benjamín Labatut’s “When We Cease to Understand the World,” Reviewed | The New Yorker</title>
    <dc:date>2024-02-02T04:14:43+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2021/09/13/a-cautionary-tale-about-science-raises-uncomfortable-questions-about-fiction</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Benjamín Labatut’s Sebaldian “When We Cease to Understand the World” grapples with science’s moral quandaries, but what is real and what is imagined?"]]></description>
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    <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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    <title>How to Keep Time - The Atlantic [bookmarking for Season 5, &quot;How to Keep Time&quot; - this podcast covered other topics before that.]</title>
    <dc:date>2024-01-23T05:11:04+00:00</dc:date>
    <link>https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Direct link to Season 5:
https://www.theatlantic.com/podcasts/how-to-build-a-happy-life/?season=5 ]

"A series exploring our complex relationship with the clock"

...

"About How to Keep Time

On this season of How to Keep Time, co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people?

Produced by Becca Rashid. Co-hosted by Becca Rashid and Ian Bogost. Editing by Jocelyn Frank. Fact-check by Ena Alvarado. Engineering by Rob Smerciak. The executive producer of Audio is Claudine Ebeid; the managing editor of Audio is Andrea Valdez."


[Transcripts:

Episode 1
"How to Keep Time: Try Wasting It
How to Waste Time: Wasting time could be the best way to use it.
In a culture obsessed with productivity, what would it mean to commit to letting it go?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-waste-time/676187/

"Co-hosts Becca Rashid and Ian Bogost explore our relationship with time and how to reclaim it. Why is it so important to be productive? Why can it feel like there’s never enough time in a day? Why are so many of us conditioned to believe that being more productive makes us better people? [includes interview with Oliver Burkeman]"

Episode 2
"How to Keep Time: Look Busy
If time is a luxury, why don’t we flaunt it?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-look-busy/676195/

"Many of us complain about being too busy—and about not having enough time to do the things we really want to do. But has busyness become an excuse for our inability to focus on what matters?

According to Neeru Paharia, a marketing professor at Arizona State University, time is a sort of luxury good—the more of it you have, the more valuable you are. But her research also revealed that, for many Americans, having less time and being busy can be a status symbol for others to notice. And when it comes to the signals we create for ourselves, sociologist Melissa Mazmanian reveals a few myths that may be keeping us from living the lives we want with the meaningful connections we crave."

Episode 3
"How to Leave Work Time at Work: Time to Break Up With Your 9-to-5
Sometimes workplace culture requires you to leave the rest of your life at the door. What if there are better ways to structure time?"
https://www.theatlantic.com/podcasts/archive/2023/12/how-to-leave-work-time-at-work/676196/

"Before laptops allowed us to take the office home and smartphones could light up with notifications at any hour, work time and “life” time had clearer boundaries. Today, work is not done exclusively in the workplace, and that makes it harder to leave work at work.

Co-hosts Becca Rashid and Ian Bogost examine the habits that shrink our available time, and Ignacio Sánchez Prado, a professor of Latin American Studies at Washington University in St. Louis, offers his reflections on American culture and shares suggestions for how to use the time we do have, for life."

Episode 4
"How to Rest. What Is Rest, Anyway?
There’s a difference between leisure and laziness."
https://www.theatlantic.com/podcasts/archive/2024/01/how-to-rest/676197/

"Between making time for work, family, friends, exercise, chores, shopping—the list goes on and on—it can feel like a huge accomplishment to just take a few minutes to read a book or watch TV before bed. All that busyness can lead to poor sleep quality when we finally do get to put our head down.

How does our relationship with rest affect our ability to gain real benefits from it? And how can we use our free time to rest in a culture that often moralizes rest as laziness? Alex Soojung-Kim Pang, the author of several books on rest and director of global programs at 4 Day Week Global, explains what rest is and how anyone can start doing it more effectively."

Episode 5
"Time-Management Tips From the Universe
It could help to examine the cosmos."
https://www.theatlantic.com/podcasts/archive/2024/01/time-management-tips-from-the-universe/676199/ 

"Time can feel like a subjective experience—different at different points in our lives. It’s also a real, measurable thing. The universe may be too big to fully comprehend, but what we do know could help inform the ways we approach our understanding of ourselves, our purpose, and our time.

Theoretical physicist and black-hole expert Janna Levin explains how the science of time can inspire new thinking and fresh perspectives on a much larger scale."

Episode 6
"Can We Keep Time?
Do photos, social posts, and diaries actually help us remember better?
https://www.theatlantic.com/podcasts/archive/2024/01/can-we-keep-time/676198/

It can be tough to face our own mortality. Keeping diaries, posting to social media, and taking photos are all tools that can help to minimize the discomfort that comes with realizing we have limited time on Earth. But how exactly does documenting our lives impact how we live and remember them?

In this episode, diarist and author Sarah Manguso reflects on the benefits and limitations of keeping track of time, and Charan Ranganath, a professor of psychology and researcher at the UC Davis Center for Neuroscience, discusses what research reveals about how memories work and how we can better keep time."]]]></description>
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    <title>Ave Maria/Sophia/Gaia: Katherine Bubel and Michelle Berry Lane on Illich and the Sacred Feminine (Conversation #4) - YouTube</title>
    <dc:date>2023-11-29T07:11:40+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=19q4pWKPlj0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For our fourth and final conversation, around and beyond the legacy of Ivan Illich, we hear reflections and discussion from Katherine Bubel and Michelle Berry Lane before moving into an extended open discussion.

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

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

Katharine Bubel is assistant professor of English at Trinity Western University

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

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

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

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

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

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

See also:

Ivan Illich/David Cayley Book Club #3 of 6
https://www.youtube.com/watch?v=QhCYH95t768 ]]]></description>
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