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    <title>Global Thinkers: On the Equality of All Things | Carlo Rovelli - YouTube</title>
    <dc:date>2026-05-28T08:19:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=cJGLmI-rEzE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["On May 14, 2026, the Berggruen Global Thinkers Series presented the lecture “On the Equality of All Things” held at Peking University’s Centennial Memorial Hall. The lecture was delivered by the renowned theoretical physicist Carlo Rovelli, who drew from his upcoming book under the same name (On the Equality of All Things, 齊物論) following the famed Zhuangzi chapter. The Berggruen Center’s Academic Advisory Council Co-Chair Roger Ames hosted the event. 

Rovelli contends that contemporary physics—particularly quantum mechanics and general relativity—compels us to undertake a profound revision of our understanding of reality, one with far-reaching philosophical implications. These theories encourage a view of the world as constituted by processes and relations, rather than by entities possessing independent existence; they challenge metaphysical dichotomies such as subject/object, matter/spirit, and living/non-living; and they invite us to abandon the notion of any ultimate or privileged foundation. In this respect, Eastern classical thinkers such as Nagarjuna and Zhuangzi, together with strands of Western philosophy, offer conceptual frameworks that resonate with and help illuminate these recent developments in our understanding of the world."]]></description>
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<item rdf:about="https://unsung.aresluna.org/prototyping-turned-into-an-excuse-for-not-thinking/">
    <title>“Prototyping turned into an excuse for not thinking” – Unsung</title>
    <dc:date>2026-05-28T07:22:10+00:00</dc:date>
    <link>https://unsung.aresluna.org/prototyping-turned-into-an-excuse-for-not-thinking/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["All this could be contrasted with movement of slow software (the name is part of a bigger slow movement although has unfortunate connotations in tech – it’s slow as in “speech,” not slow as in “beer”). Jared White in 2023 defined it as:

• Sustainable software. Architecting and writing code in ways which are easily understandable and maintainable over time, requiring few dependencies and a rate of change that is healthy for the underlying ecosystem.

• Thoughtful software. Working through feature development and making decisions based on what will benefit the userbase over the long term, placing mental and social health as priority over immediate gains or selfish interests.

• Careful software. Seeking to understand the ways software might be used for harm, or itself be harmful by taking attention away from more important concerns in the broader culture.

• Humanist software. Recognizing that most software—at least in application development—is primarily written for humans to understand and reason about with ease across a wide array of skill levels, and that relying on complex code generators or “generative AI” tooling to resolve complexity instead of simply building simpler human-scale tools is an industry dead-end.

• Open software. Looking to established collaborative software movements like open source and the standards bodies responsible for open protocols to inspire how we build and maintain software (regardless of licensing).

I don’t really have a conclusion for this meandering post, as I am not sure a snappy conclusion is possible. Perhaps some of the links above can provide inspiration or food for thought about urgency, reputation, and doing things in the open.

Some patterns I’m noticing are:

• Velocity is never an end goal.

• Velocity is only one of many ingredients of software building.

• It is necessary to think of people who will experience your work-in-progress as it is, not as it might one day be."]]></description>
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<item rdf:about="https://om.co/2026/05/25/we-are-living-in-pinocchios-world/">
    <title>We Are Living in Pinocchio’s World – On my Om</title>
    <dc:date>2026-05-26T06:52:34+00:00</dc:date>
    <link>https://om.co/2026/05/25/we-are-living-in-pinocchios-world/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Most people remember Pinocchio as a story about lying. The nose grows. You get caught. Lesson learned. But that reading misses almost everything Collodi was actually doing. The book is a close study of a society where deception has gone ambient, woven into every institution, every transaction. Courts punish victims. Authority figures perform competence without exercising it. Experts are decorative. Society holds together through spectacle and habit rather than accountability. Into this environment, a naive creature is released, constitutionally unable to resist a good story about easy reward.

The nose is the least interesting lie in the book. The interesting lies are the ones that work.

***

The Fox and the Cat are the novel’s most modern characters. They persuade Pinocchio to bury his coins in the Field of Miracles on the promise that they will multiply overnight. Exploit impatience, exploit greed, frame skepticism as a failure of imagination, and dismiss skeptics as lacking vision. Remind you of someone? Space Cowboy for example?

That structure is so familiar I barely need to name it. But let me name it anyway.

Everyone from Jensen Huang to Sam Altman to Elon Musk spent a decade accumulating what I have called symbolic capital, the reputation, the prestige, the weight of being seen as someone who understands the future better than the rest of us. Now each of them seems to be running some version of the Field of Miracles, with promises that keep not arriving, timelines that dissolve, products that exist primarily as announcements, and platforms run as machines for generating more reputation regardless of what they actually do. They don’t need to be right. They need to be believed. Velocity is the new authority, and no one has weaponized that more effectively.

We are living, as I wrote years ago, in the golden age of half-truths.

Your average influencer flogging a supplement, a course, a skin cream, or a crypto token on TikTok and Instagram is running the same operation, just cheaper. The confidence is the product. The audience wants to believe. The Field of Miracles is open for business everywhere you look.

Collodi in 1881 was writing about all this at a point of major societal inflection. So perhaps now you understand why I am drawn to this story. Pinocchio is a story about a society organized around deception.

The Land of Toys is the sequence that haunts me most, especially now. Children abandon school and responsibility for a place of permanent amusement. They play. And then, gradually, they begin to change. They grow ears. They grow tails. They become donkeys, beasts of labor and exploitation, stripped of language, used until they break.

This is a parable of who we have become, a BNPL-fueled spectacle in itself.

Collodi was writing during rapid industrialization and the early emergence of mass entertainment. He understood, earlier than most, that distraction offered as pleasure can be a leash. The children who choose the Land of Toys over school are not liberated. They are owned more completely than any schoolroom could manage.

The algorithmic feed is the Land of Toys. It is built to keep you there past the point of nourishment, past the point where you are even enjoying it. Outrage travels faster than understanding. Spectacle beats judgment. The algorithm doesn’t care whether something is true. It cares whether it moves. And it keeps you scrolling, reacting, and returning in ways that benefit the platform, not you.

The political system has learned the same lesson. Governance is slow and grinding and unsatisfying. Performance is fast and shareable. We have built media and political economies that reward entertainers over administrators, and the clean story over the complicated truth.

Collodi refuses to assign blame only upward. That is what keeps the novel from collapsing into moralism. Pinocchio is deceived because he wants to be deceived. He chooses shortcuts over work, belonging over truth, spectacle over judgment, every time, until the costs become too steep to ignore. The Fox and the Cat succeed because he hands them what they need. His credulity is not innocent. It is participation.

The grifters and the hucksters and the influencers selling impossible things succeed because audiences reward certainty and punish doubt. They honor confidence and resist complication. A clean story about a genius who will fix everything travels faster than a difficult story about tradeoffs. The Field of Miracles stays open because people keep wanting to bury their coins there.

The Fox and the Cat is how the whole thing works.

Pinocchio becomes real, becomes human, only after he accepts obligation. Collodi is saying that it is important to have self-governance. It is necessary to choose the difficult truth over the easy satisfying one. That doesn’t jibe with everything the attention economy is selling, dopamine hits delivered so frequently that it becomes hard to distinguish stimulation from autonomy."]]></description>
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    <title>Gas Town and Bullet Hell – Petafloptimism</title>
    <dc:date>2026-03-23T04:36:27+00:00</dc:date>
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<item rdf:about="https://om.co/2026/01/21/velocity-is-the-new-authority-heres-why/">
    <title>Velocity Is the New Authority. Here’s Why – On my Om</title>
    <dc:date>2026-01-22T05:22:32+00:00</dc:date>
    <link>https://om.co/2026/01/21/velocity-is-the-new-authority-heres-why/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Why does everyone feel overwhelmed by information? Why does it feel impossible to trust what passes through our streams? We tend to blame individual publications, specific platforms, or bad actors. The real answer has less to do with any single media entity and more with structural changes in the information ecosystem.

I started my “information” life typing copy on an ill-tempered Remington. As a teenage reporter, I saw newspapers being typeset, one letter at a time. It was a messy, slow, and laborious process. So I don’t carry romantic notions about the old days. I’ve been quick to embrace any technology that, in Stephen Covey’s words, helps me keep “the main thing the main thing.” The main thing is telling a thoroughly reported, well-written story.

The early 1990s Internet, followed by blogging at the turn of the century, and social media a decade later all helped me do that main thing. In the mid-2000s I embraced Dave Winer’s mantra of “sources going direct.” As far back as 2009, I outlined the coming changes in my essays “How Internet Content Distribution and Discovery Are Changing” and “Amplification and the Changing Role of Media.”

For the past decade and a half, the whole information ecosystem has become much larger, faster and noiser. It is hardly surprising that nothing works. And we feel a collective sense of overwhelming disappointment. 

So, why does nothing work?

Authority used to be the organizing principle of information, and thus the media. You earned attention by being right, by being first in discovery, or by being big enough to be the default. That world is gone. The new and current organizing principle of information is velocity.

What matters now is how fast something moves through the network: how quickly it is clicked, shared, quoted, replied to, remixed, and replaced. In a system tuned for speed, authority is ornamental. The network rewards motion first and judgment later, if ever. Perhaps that’s why you feel you can’t discern between truths, half-truths, and lies.

With so much coming at us all the time, it is difficult to give any single story or news event much weight. More content means already fragmented attention fractures even further. 

Greenland, Iran, Venezuela, Epstein Files, Dodgers. On and on.

Networks have always shaped how societies are organized. Roman roads didn’t just make travel easier; they mapped the reach of the state and the limits of power. Shipping routes determined where colonial empires flourished and where they faded. In the Victorian age, the railways didn’t just shorten journeys; they rearranged British society. 

They created commuting and leisure, turned market towns into suburbs, standardized national time, and collapsed the meaning of distance. They also reordered authority: timetables mattered as much as parliaments. What looks like cultural choice is often the echo of infrastructure. Today’s mobile, cloud-linked world is another Victorian moment. Networks compress time and space, then quietly train us to live at their speed.

That’s why we get all our information as memes. The meme has become the metastory, the layer where meaning is carried. You don’t need to read the thing; you just need the gist, compressed and passed along in a sentence, an image, or a joke. It has taken the role of the headline. The machine accelerates this dynamic. It demands constant material; stop feeding it and the whole structure shakes. The point of the internet now is mostly to hook attention and push it toward commerce, to keep the engine running. Anyone can get their cut.

Velocity has taken over. 

Algorithms on YouTube, Facebook, TikTok, Instagram, and Twitter do not optimize for truth or depth. They optimize for motion. A piece that moves fast is considered “good.” A piece that hesitates disappears. There are almost no second chances online because the stream does not look back. People are not failing the platforms. People are behaving exactly as the platforms reward. We might think we are better, but we have the same rat-reward brain. 

We built machines that prize acceleration and then act puzzled that everything feels rushed and slightly manic. The networks of the past were slower and at a scale that was adaptable. I wrote about this years ago, and nothing since has disproved it. So when the author of “beliefs outrun facts” says nothing works, now you know why.

The fundamental network-level changes should give you a good idea of why we have a growing ambivalent relationship toward media as an organized information entity. I will get into technology media from startup perspective in a separate piece. For now, I will stick to the broader media ecosystem.

Let’s use YouTube technology reviews as a case study, because they are universally understandable. Take the launch of a new phone: when the embargo lifts, dozens of polished video reviews appear on YouTube. They run about 20 minutes, share similar thumbnails, and use the same mood lighting. The reviewers had access to the phones before everyone else, so they had time to prepare their reviews.

In the old days, before the current phase of content abundance, folks like Walt Mossberg, Ed Baig, David Pogue, and Steven Levy were often the first to get Apple products for review. Sure, these folks had big platforms, but that head startgave them a lot of clout, which meant many non-Apple companies offered them early access to their products. I never felt cheated or misled by their reviews, though I did notice what they omitted after using the product for a few months.

These days, things are markedly different. For YouTubers, access is the currency of survival. Access, of course, means suggested talking points. Again, nothing new. What’s different is that every reviewer knows that if they paint outside the lines, they’ll lose access. If you don’t have the review out when the embargo lifts, it doesn’t matter if you have a better review; no one is going to notice.

The system rewards whoever speaks first, not whoever lives with it long enough to understand it. The “review” at launch outperforms the review written two months later by orders of magnitude. The second, longer, more in-depth, more honest review might as well not exist. It’s not that people are less honest by nature. It’s that the structure pays a premium for compliance and levies a tax on independence. The result is a soft capture where creators don’t have to be told what to say. The incentives do the talking.

We built systems that reward acceleration, then act surprised when everything feels rushed, shallow, and slightly manic. People do what the network rewards. Writers write for the feed. Photographers shoot for the scroll. Newsrooms frame stories as conflict because conflict travels faster than nuance. Even our emotional lives adapt to latency and refresh cycles. The design of the network becomes the choreography of daily life.

In older networks, the constraints were physical. The number of train lines limited where cities could grow. The number of printing presses limited how many voices could speak. In our case, the constraint is temporal: how fast something can be produced, clicked, shared, and replaced. When velocity becomes the scarcest resource, everything orients around it. This is why it’s wrong to think of “the algorithm” as some quirky technical layer that can be toggled on and off or worked around. The algorithm is the culture. It decides what gets amplified, who gets to make a living, and what counts as “success.”

Once velocity is the prize, quality becomes risky. Thoughtfulness takes time. Reporting takes time. Living with a product or an idea takes time. Yet the window for relevance keeps shrinking, and the penalty for lateness is erasure. We get a culture optimized for first takes, not best takes. The network doesn’t ask if something is correct or durable, only if it moves. If it moves, the system will find a way to monetize it.

The algorithm doesn’t care whether something is true; it cares whether it moves. Day-one content becomes advertising wearing the mask of criticism.

All of this folds back into a larger point. When attention is fragmented and speed becomes the dominant value, media rearranges itself around that reality. Not because anyone wakes up wanting to mislead people, but because the context makes some paths survivable and others impossible.

The YouTube algorithm is the real enforcer because it rewards velocity. Get into the algorithmic slip stream and you get the numbers and make money. So it is no surprise that most day-one reviews are, well, anything but. This goes back to my original premise that when velocity becomes the defining metric, authority is displaced.

You don’t need to be right; you need to be first in the feed. Generalize this beyond YouTube tech reviews and you see the same pattern everywhere. I’m flabbergasted by how much good journalism goes unnoticed every day. We didn’t just put journalism, entertainment, politics, and private lives on networks. We let the networks rewrite what those things are forand how they work.

None of what I am saying is new. Decades ago the media sage Marshall McLuhan summed it up in his timeless phrase, “The medium is the message.” The medium, the technology or channel of communication, influences society and individuals more profoundly than the content, altering our senses and habits and, in turn, our perception, interaction, and culture. The only difference is that network is like a hydra, and data is the fuel that adds velocity, the new metric of perceived reality.

The cost of all this isn’t abstract. It’s the review that took three months, and no one will read it. It’s the investigation that requires patience. It’s the work of understanding before passing judgment. All of it still exists, still gets made. It just doesn’t travel. In a system where only what travels matters, we’ve made expertise indistinguishable from noise.

The cost of all this isn’t abstract. It’s the review that took three months but no one will read. It’s the investigation that required patience. It’s the work of understanding something before declaring judgment. All of it still exists, still gets made. It just doesn’t travel. And in a system where only what travels matters, we’ve made expertise indistinguishable from noise.

In the age of AI, will any of this matter when our idea of information will be entirely different?"]]></description>
<dc:subject>internet web online speed velocity ommalik 2026 howweread reading writing howwewrite socialmedia youtube acceleration attention noise information authority media society netwoeks commerce algorithms instagram facebook twitter tiktok journalism thoughfulness relevance thought howwethink fragmentation marshallmcluhan ai artificialintelligence</dc:subject>
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<item rdf:about="https://twitter.com/DGHaskell/status/1007676669564411904">
    <title>David George Haskell on Twitter: &quot;Time is context dependent. For the Rocky Mountain bristlecone pine, a needle is fifteen summers, a sapling a century. For every species, a tempo, a velocity. Wood from over 50 human generations ago, on a Precambrian mount</title>
    <dc:date>2018-06-20T22:04:49+00:00</dc:date>
    <link>https://twitter.com/DGHaskell/status/1007676669564411904</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Time is context dependent. For the Rocky Mountain bristlecone pine, a needle is fifteen summers, a sapling a century. For every species, a tempo, a velocity.
Wood from over 50 human generations ago, on a Precambrian mountain."

[via: https://twitter.com/timoslimo/status/1007738124053577729

""“time is a tree (this life one leaf)
but love is the sky and i am for you
just so long and long enough”
- e.e. cummings "]]></description>
<dc:subject>time context nature life velocity trees eecummings poems poetry multispecies morethanhuman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://sambwmn.tumblr.com/post/169533954864/the-important-thing-is-to-understand-life-each">
    <title>[untitled]</title>
    <dc:date>2018-01-21T19:26:43+00:00</dc:date>
    <link>http://sambwmn.tumblr.com/post/169533954864/the-important-thing-is-to-understand-life-each</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The important thing is to understand life, each living individuality, not as a form, or a development of form, but as a complex relation between differential velocities, between deceleration and acceleration of particles. A composition of speeds and slowness on a plane of immanence. In the same way, a musical form will depend on a complex relation between speeds and slowness of sound particles. It is not just a matter of music but of how to live: it is by speed and slowness that one slips in among things, that one connects with something else. One never commences; one never has a tabula rasa; one slips in, enters in the middle; one takes up or lays down rhythms."

—Gilles Deleuze, ‘Spinoza: Practical Philosophy]]></description>
<dc:subject>gillesdeleuze spinoza life individuality velocities velocity vectors slowness form particles flow interconnectedness interconnected interdependence music complexity systems systemsthinking philosophy via:fantasylla deleuze interconnectivity</dc:subject>
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<item rdf:about="http://kottke.org/15/10/scaling-laws-and-the-speed-of-animals">
    <title>Scaling laws and the speed of animals</title>
    <dc:date>2015-10-19T20:22:05+00:00</dc:date>
    <link>http://kottke.org/15/10/scaling-laws-and-the-speed-of-animals</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A recent paper found that the time it takes for an animal to move the length of its own body is largely independent of mass. This appears to hold from tiny bacteria on up to whales -- that's more than 20 orders of magnitude of mass. The paper's argument as to why this happens relies on scaling laws. Alex Klotz explains.

<blockquote>A well-known example is the Square-Cube Law, dating back to Galileo and described quite well in the Haldane essay, On Being the Right Size. The Square-Cube Law essentially states that if something, be it a chair or a person or whatever, were made twice as tall, twice as wide, and twice as deep, its volume and mass would increase by a factor of eight, but its ability to support that mass, its cross sectional area, would only increase by a factor of four. This means as things get bigger, their own weight becomes more significant compared to their strength (ants can carry 50 times their own weight, squirrels can run up trees, and humans can do pullups).

Another example is terminal velocity: the drag force depends on the cross-sectional area, which (assuming a spherical cow) goes as the square of radius (or the two-thirds power of mass), while the weight depends on the volume, proportional to the cube of radius or the first power of mass. As Haldane graphically puts it

"You can drop a mouse down a thousand-yard mine shaft; and, on arriving at the bottom, it gets a slight shock and walks away, provided that the ground is fairly soft. A rat is killed, a man is broken, a horse splashes."</blockquote>

Scaling laws also come into play in determining the limits of the size of animals: The Biology of B-Movie Monsters.

<blockquote>When the Incredible Shrinking Man stops shrinking, he is about an inch tall, down by a factor of about 70 in linear dimensions. Thus, the surface area of his body, through which he loses heat, has decreased by a factor of 70 x 70 or about 5,000 times, but the mass of his body, which generates the heat, has decreased by 70 x 70 x 70 or 350,000 times. He's clearly going to have a hard time maintaining his body temperature (even though his clothes are now conveniently shrinking with him) unless his metabolic rate increases drastically.

Luckily, his lung area has only decreased by 5,000-fold, so he can get the relatively larger supply of oxygen he needs, but he's going to have to supply his body with much more fuel; like a shrew, he'll probably have to eat his own weight daily just to stay alive. He'll also have to give up sleeping and eat 24 hours a day or risk starving before he wakes up in the morning (unless he can learn the trick used by hummingbirds of lowering their body temperatures while they sleep)."</blockquote>]]></description>
<dc:subject>scale nature scaling velocity speed animals 2015 size science</dc:subject>
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<dc:identifier>https://pinboard.in/u:robertogreco/b:88bcff5257b1/</dc:identifier>
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<item rdf:about="https://theamericanscholar.org/joyas-volardores/">
    <title>The American Scholar: Joyas Volardores - Brian Doyle</title>
    <dc:date>2015-01-28T18:17:58+00:00</dc:date>
    <link>https://theamericanscholar.org/joyas-volardores/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Consider the hummingbird for a long moment. A hummingbird’s heart beats ten times a second. A hummingbird’s heart is the size of a pencil eraser. A hummingbird’s heart is a lot of the hummingbird. Joyas volardores, flying jewels, the first white explorers in the Americas called them, and the white men had never seen such creatures, for hummingbirds came into the world only in the Americas, nowhere else in the universe, more than three hundred species of them whirring and zooming and nectaring in hummer time zones nine times removed from ours, their hearts hammering faster than we could clearly hear if we pressed our elephantine ears to their infinitesimal chests.

Each one visits a thousand flowers a day. They can dive at sixty miles an hour. They can fly backwards. They can fly more than five hundred miles without pausing to rest. But when they rest they come close to death: on frigid nights, or when they are starving, they retreat into torpor, their metabolic rate slowing to a fifteenth of their normal sleep rate, their hearts sludging nearly to a halt, barely beating, and if they are not soon warmed, if they do not soon find that which is sweet, their hearts grow cold, and they cease to be. Consider for a moment those hummingbirds who did not open their eyes again today, this very day, in the Americas: bearded helmet-crests and booted racket-tails, violet-tailed sylphs and violet-capped woodnymphs, crimson topazes and purple-crowned fairies, red-tailed comets and amethyst woodstars, rainbow-bearded thornbills and glittering-bellied emeralds, velvet-purple coronets and golden-bellied star-frontlets, fiery-tailed awlbills and Andean hillstars, spatuletails and pufflegs, each the most amazing thing you have never seen, each thunderous wild heart the size of an infant’s fingernail, each mad heart silent, a brilliant music stilled.

Hummingbirds, like all flying birds but more so, have incredible enormous immense ferocious metabolisms. To drive those metabolisms they have race-car hearts that eat oxygen at an eye-popping rate. Their hearts are built of thinner, leaner fibers than ours. Their arteries are stiffer and more taut. They have more mitochondria in their heart muscles—anything to gulp more oxygen. Their hearts are stripped to the skin for the war against gravity and inertia, the mad search for food, the insane idea of flight. The price of their ambition is a life closer to death; they suffer more heart attacks and aneurysms and ruptures than any other living creature. It’s expensive to fly. You burn out. You fry the machine. You melt the engine. Every creature on earth has approximately two billion heartbeats to spend in a lifetime. You can spend them slowly, like a tortoise and live to be two hundred years old, or you can spend them fast, like a hummingbird, and live to be two years old.

The biggest heart in the world is inside the blue whale. It weighs more than seven tons. It’s as big as a room. It is a room, with four chambers. A child could walk around it, head high, bending only to step through the valves. The valves are as big as the swinging doors in a saloon. This house of a heart drives a creature a hundred feet long. When this creature is born it is twenty feet long and weighs four tons. It is waaaaay bigger than your car. It drinks a hundred gallons of milk from its mama every day and gains two hundred pounds a day, and when it is seven or eight years old it endures an unimaginable puberty and then it essentially disappears from human ken, for next to nothing is known of the the mating habits, travel patterns, diet, social life, language, social structure, diseases, spirituality, wars, stories, despairs and arts of the blue whale. There are perhaps ten thousand blue whales in the world, living in every ocean on earth, and of the largest animal who ever lived we know nearly nothing. But we know this: the animals with the largest hearts in the world generally travel in pairs, and their penetrating moaning cries, their piercing yearning tongue, can be heard underwater for miles and miles.

Mammals and birds have hearts with four chambers. Reptiles and turtles have hearts with three chambers. Fish have hearts with two chambers. Insects and mollusks have hearts with one chamber. Worms have hearts with one chamber, although they may have as many as eleven single-chambered hearts. Unicellular bacteria have no hearts at all; but even they have fluid eternally in motion, washing from one side of the cell to the other, swirling and whirling. No living being is without interior liquid motion. We all churn inside.

So much held in a heart in a lifetime. So much held in a heart in a day, an hour, a moment. We are utterly open with no one in the end—not mother and father, not wife or husband, not lover, not child, not friend. We open windows to each but we live alone in the house of the heart. Perhaps we must. Perhaps we could not bear to be so naked, for fear of a constantly harrowed heart. When young we think there will come one person who will savor and sustain us always; when we are older we know this is the dream of a child, that all hearts finally are bruised and scarred, scored and torn, repaired by time and will, patched by force of character, yet fragile and rickety forevermore, no matter how ferocious the defense and how many bricks you bring to the wall. You can brick up your heart as stout and tight and hard and cold and impregnable as you possibly can and down it comes in an instant, felled by a woman’s second glance, a child’s apple breath, the shatter of glass in the road, the words I have something to tell you, a cat with a broken spine dragging itself into the forest to die, the brush of your mother’s papery ancient hand in the thicket of your hair, the memory of your father’s voice early in the morning echoing from the kitchen where he is making pancakes for his children."]]></description>
<dc:subject>2012 briandoyle via:jenlowe animals nature birds hummingbirds numbers time repetition metabolism biology hearts whales bluewhales mammals anatomy lifetimes scale size life speed velocity</dc:subject>
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<item rdf:about="http://makerlab.com/">
    <title>Makerlab.com</title>
    <dc:date>2012-07-19T02:00:00+00:00</dc:date>
    <link>http://makerlab.com/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A Bay Area based incubator space for artists, makers, & developers."

From the manifesto:

"Ownership: Avoid silos; federate data - don't try to own data. Be transparent. …

…License free or open…

…Brainstorming, sketching and iterative concept development are encouraged…

Wiki-Like: Everything should be a wiki. Everything should allow reverting. Deputize participants to help. Disambiguate related content; duplicate persons & the like w/ disambiguation pages.

Conversational: Encourage real time discourse, encourage collaboration & open-ended conversation. Be humane. Be multi-modal & multi-gateway, multi-ligual & multi-faceted.

…Iterate quickly and often, take feedback and criticism and turn good projects into great ones.

Community: Focus on caring for our own communities first, then & only then do you grow outwards from our own community. Remember to appreciate those around you, encourage and validate the work of those around you."

[via: http://paige.saez.usesthis.com/ See also: http://paigesaez.org/ AND http://hook.org/ ]]]></description>
<dc:subject>discourse manifestos ownership open designpractices wiki-like wikis community agile velocity conversation anselmhook paigesaez hackerspaces software newmedia media design technology lcproject makerlab sanfrancisco</dc:subject>
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    <title>Books In Browsers 2011: James Bridle, &quot;Books as Data&quot; - YouTube</title>
    <dc:date>2012-01-26T03:36:39+00:00</dc:date>
    <link>http://www.youtube.com/watch?&amp;v=uTprAVmG204</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>bookmarking change publishing contents longformtext text translation digitization piracy design art breadth velocity socialdata annotation commonplacebooks experience readmill information social depth ebooks hyperlinks twitter history networks bookshelves connections libraries footnotes notes marginalia context longreads digitalshorts penguin booksinbrowsers digital books jamesbridle 2011</dc:subject>
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<item rdf:about="http://blog.frankchimero.com/post/3430957759">
    <title>Frank Chimero - Velocity</title>
    <dc:date>2011-02-21T22:05:40+00:00</dc:date>
    <link>http://blog.frankchimero.com/post/3430957759</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["It is tempting to think there are no beginnings, no rebirths. Every new day we have to live with yesterday. That doesn’t mean we can’t change. Change is slower than we think. It sneaks up on us. We can’t shed our skin like snakes, we replace our cells, one-by-one. We cross-fade into becoming new people. One day you wake up & look in the mirror and say “Who is this person?”…

But when we travel, we move more rapidly than the rest of the world. We change faster, revise who we are quicker. I think when we travel our cells replace themselves with more rapidity. We may not be able to shed our skin, but through the sheer velocity of movement, we slough off our old selves.

But that furniture is still in the same spot when we return home. Mostly, it seems that things will be as they were before. And yet, not. Things are different now. I know it. They WILL be different. And better. This time through, I’ll be better. At least that is how it feels…"]]></description>
<dc:subject>frankchimero change perspective travel newzealand airports human slow velocity urgency improvement self-improvement clarity accidents serendipity time</dc:subject>
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<item rdf:about="http://velocity-rides.org/blog/programs/">
    <title>velo-city blog | NYC | Programs</title>
    <dc:date>2010-06-30T06:57:18+00:00</dc:date>
    <link>http://velocity-rides.org/blog/programs/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Velo  City’s mission is to introduce youth from diverse under served communities to urban planning and design concepts, community involvement opportunities, and career options in architecture, landscape architecture, urban planning and design through the medium of cycling."

[See also: http://www.kickstarter.com/projects/991833446/cycling-exploring-the-city-bikesplorations ]]]></description>
<dc:subject>via:adamgreenfield nyc bikes biking kickstarter landscape activism urban urbanism urbanplanning architecture community civics youth design velocity transportation transit bikesplorations classideas tcsnmy</dc:subject>
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