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    <title>'Separate in name and power': How America reinvented English</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["From "deadline" to "lituation", from "prairie" to "amirite", America's linguistic independence has transformed the English language with a wealth of new words and phrases – shaping its own cultural identity in the process."]]></description>
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    <title>DEBATE: Who is Responsible for &quot;Woke?&quot; (with Musa al-Gharbi) - YouTube</title>
    <dc:date>2026-06-26T05:13:05+00:00</dc:date>
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    <title>Thirty-Two Words for Field – Manchán Magan</title>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Weaving together folklore, proverb, and cultural memory, Manchán Magan traces the ecological intimacy encoded in the Irish language."]]></description>
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</item>
<item rdf:about="https://rose.systems/animalist/">
    <title>list animals until failure</title>
    <dc:date>2026-03-05T21:27:16+00:00</dc:date>
    <link>https://rose.systems/animalist/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Animals must have Wikipedia articles.

You have limited time, but get more time for each animal listed. When the timer runs out, that's game over. (Time adjustable in settings.)

No overlapping terms. For example, if you list “bear” and “polar bear”, you get no point (or time bonus) for the latter. But you can still get a point for a second kind of bear. Order doesn't matter.

Ignore the extraneous visuals. Focus on naming animals."

[via:
https://kottke.org/26/03/0048500-web-game-list-as-many ]]]></description>
<dc:subject>games animals multispecies words language wildlife morethanhuman</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e3f16fc90336/</dc:identifier>
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</item>
<item rdf:about="https://psyche.co/ideas/why-we-should-embrace-nepantla-the-in-betweenness-of-life">
    <title>Why we should embrace ‘nepantla’ – the in-betweenness of life | Psyche Ideas</title>
    <dc:date>2026-02-16T00:29:15+00:00</dc:date>
    <link>https://psyche.co/ideas/why-we-should-embrace-nepantla-the-in-betweenness-of-life</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In an age of strong political commitments, a Nahuatl word encapsulates the freedom to let go of what has become oppressive"

...

"I recall the day my mother realised that my Spanish was sounding ‘broken’. I was 12. She already knew that my English wasn’t up to par – I was useless as a family translator. But hearing me struggle with a simple polysyllabic Spanish word let her know that we had arrived at a moment of crisis. She laughed out loud and through the laughter, asked: ‘So, no English, no Spanish… y ahora qué? ¿El silencio?’ Although she asked it jokingly, the question ‘So what happens now?’ was deeply worrying. That night, I practised my English with a real sense of urgency because, in my mind, I felt that she was on to something: if I couldn’t properly speak English or Spanish – what then?

It was a terrifying feeling to realise that I was losing a grip on my Spanish while not yet having a grip on my English. I felt like I was letting everyone down: my parents, who would surely hate it if I stopped speaking Spanish, and my teachers, who understood that my future very much depended on me speaking English, and speaking it properly. I was caught in the middle of two conflicting sets of demands, and it felt like they were squeezing me to death.

I was too young, of course, to understand that this was never going to happen: I wouldn’t just fall silent (into el silencio) from an inability to speak perfect English or perfect Spanish. I would either speak English with some kind of accent, or I would speak the broken Spanish I heard white people speak at the grocery store. But I would speak. Almost four decades after my mother asked me ‘y ahora qué?’, my Spanish is still broken, and my English is still accented.

I would come to find myself in similar moments of in-betweenness throughout my life. In fact, I’ve realised that my identity as a Mexican American, as a philosopher, as a father, as a human being, is defined by in-betweenness, by being always in the middle, or in-between commitments, obligations, identities and expectations. I’ve also learned that my being-torn-between obligations, or worlds, is not a struggle unique to me. Indeed, Mexican and Latinx philosophers have a word for it: nepantla.

The term ‘nepantla’ appears in Spanish accounts of the conquest and colonisation of Mexico and was recorded for the first time by Andrés de Olmos (1485-1571) in his Arte de la lengua Mexicana (‘The Art of the Mexican Language’) from 1547. It later reappears in a popular dictionary compiled by the Franciscan Friar Alonso de Molina (1513-79) in 1571. Molina gives us a sense of the centrality of the term in the Nahuatl language. We find it in words signifying ‘the centre of the earth’ (tlalli nepantla), ‘messenger’ (nepantla quiza titlantli), ‘divide into two’ (nepantla tequi, nitla), ‘noon’ (nepantla Tonatiuh), and ‘between extremes’ (nepantlatli), to name a few.

The everyday use of the term is documented by the Dominican Friar Diego Durán’s (1537-88) History of the Indies of New Spain from 1581. Frustrated at an anonymous Indigenous man who does something contrary to colonial and Catholic expectations, Durán angrily asks him why he’s done it. Taking his time to respond, the Indigenous man calmly replies: ‘Padré, don’t stress yourself out, we are still nepantla.’ Durán is frustrated by this response and sets out to find the meaning of ‘nepantla’. It only adds to Durán’s exasperation to find out that what the Indigenous man meant in saying ‘we are still nepantla’ was that he couldn’t do as expected or instructed by the colonial/Catholic order because he was not yet what the Spanish wanted him to be. He was still in-between the old ways and the new, in the middle of conflicting sets of obligations, indeterminate as to his identity, and still on the way.

Almost 400 years later, the Mexican philosopher Emilio Uranga (1921-88) appropriated the term in his Analysis of Mexican Being (1952). He calls it the ‘central category of [a Mexican] ontology’, given the modern Mexican’s existence as in-between two opposing histories, the Spanish and the Indigenous. The Latina feminist philosopher Gloria Anzaldúa (1942-2004) also later used the term in Borderlands/La Frontera (1987) to signal a borderland existence ‘in-between’ being Mexican and being American.

To be nepantla is to be in the middle, in-between, or neutral (uncommitted). If you are nepantla, you are hard to pin down. The definition of nepantla is itself also hard to pin down, but we can try:

Nepantla is the ‘in between’ of temporalities, worlds, processes, paradigm shifts. With Anzaldúa, we can talk about being neither American nor Mexican but existing in the liminal spaces, or ‘borderlands’. Or we can talk about finding ourselves in-between temporalities, as in-between a past that is no longer available and a strange and uncertain future that seems always, and permanently, out of reach.

Nepantla is ‘always being on the way’, in transit, in the middle of a process. In a certain sense, this describes all human beings. Our very existence can be seen as a transit between life and death. We don’t really know where we come from or where we are going, and so we exist in a permanent state of in-betweenness.

And nepantla is neutrality, a letting-go, or a standing on the margins, observing the unfolding of the world, history and life without making a firm commitment. This could be due to a choice we’ve made regarding demands upon us or to the fact that, somehow, our power has been stripped from us, making us spectators or non-participants. Yet, in affirming our neutrality, we regain power over circumstances that may demand our attention or action – we say ‘yes’ and ‘no’ because we are ‘still nepantla’.

A seductive aspect about the term is that, as Uranga says, ‘it does not borrow from the Western tradition.’ In fact, nepantla defies the Western tradition by insisting on transition, movement and suspension as ontological and existential realities, as opposed to certainty, stability and substance. This is strategically important, especially if we seek to confront colonial prejudices and conceptualisations. In this way, colonial and imperialistic degradations of Mexicans or Latinx peoples rooted in racist notions of purity and integrity are met with a concept that insists on contingency, indeterminateness and mestizaje (racial mixing) as the defining characteristics of human life.

In other words, the introduction of nepantla as a philosophical concept represents a moment of separation between Mexican philosophy and the Western tradition that up to a certain point the former sought to imitate. With this concept, it forgoes imitation in favour of originality; its introduction, furthermore, represents the intervention, interruption and imposition of a genuinely ‘American’ philosophical category on the Western tradition, a category that emerges from the precolonial Indigenous experience yet is applicable to other experiences. Uranga writes: ‘We thus have before us, in all its purity, the central category of our ontology, autochthonous, one that does not borrow from the Western tradition, satisfying our desire to be originalists.’

Being in nepantla can be terrifying. It is terrifying because, as nepantla, you find yourself as if uprooted from a previous way of life and placed in a liminal, ungrounded state of waiting for what’s to come. I felt this when I realised that I was losing part of my identity as a Spanish speaker and that my future as another kind of speaker was uncertain.

But what I then read as terror also pointed to nepantla as a kind of freedom. Nepantla also refers to ‘neutrality’. By ‘neutrality’ we mean that in nepantla you are morally, politically or socially uncommitted, unbounded by an obligation or an allegiance to authority figures, places or things, like the Indigenous man in Durán’s story. You will experience an uncanny sense of freedom. As a first-gen college student, I soon realised that I was free to pursue my future in multiple directions.

If for no other reason, it is beneficial to affirm your nepantla, to declare yourself in a permanent state of transition (from the past to the future, birth and death, innocence and guilt), heading to an unknown ‘yet’, suspended in the middle of a paradigm shift, the final phase of which is beyond your comprehension.

Our nepantla can express itself in unexpected ways. We are neither liberal nor conservative, but something in-between; we are neither rich nor poor, but something in the middle; we are neither for nor against the newest political position, but neutral. And these middle-grounds can be oppressive if we really don’t know where to go, or they can be liberating if we recognise our in-betweenness or neutrality as an opportunity to act without being bound to expectations or pre-set obligations.

This last point suggests that it is one thing to be nepantla and another to affirm oneself as nepantla or in nepantla. Ultimately, affirmation is key. In a time when social pressures demand strong political commitments, our in-betweenness becomes a space of freedom, choice, and personal growth where we can choose to commit ourselves to projects or ideas that matter to us despite outside pressures or expectations. But, because we are still nepantla, and we recognise ourselves as such, we are free to abandon those projects or ideas if they become oppressive or harmful, to change our minds, and to grow in unexpected directions. Nepantla is freedom."]]></description>
<dc:subject>nahuatl words betweenness inbetweenness 2026 carlosalbertosánchez freedom oppression language neutrality indigeneity indigenous inbetween uncommitted dichotomy andrzeesdeolmos spanish español diegodurán obligation identity gloriaanzaldúa borders nepantla temporalities attention action transition movement certainty uncertainty stability life living originality interruption intervention ontology allegiance change between</dc:subject>
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</item>
<item rdf:about="https://theconvivialsociety.substack.com/p/owning-our-words-sounding-the-depths">
    <title>Owning Our Words: Sounding the Depths of Language</title>
    <dc:date>2026-02-08T05:50:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/owning-our-words-sounding-the-depths</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>lmsacasas language 2026 wendellberry irismurdoch words llms ai artificialintelligence leifweatherby humanism culture marilynchandlermcintyre jrrtolkien care caring sovereignty good goodness metaphor responsibility objectivity hannaharendt josefpieper georgesteiner languages rowanwilliams charlespearce walkerpercy graceolmstead tanyaberry tseliot tessacarman chatbots reading howweread writing howwewrite meaning meaningmaking accountability judgement trust publictrust syntax banalityofevil power plato corruption reality communication politics degradation freedom elaboration articulation bafflement speaking howwespeak mindchanging stanleyhauerwas</dc:subject>
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<item rdf:about="https://www.newyorker.com/magazine/2025/12/29/unabridged-the-thrill-of-and-threat-to-the-modern-dictionary-stefan-fatsis-book-review">
    <title>Is the Dictionary Done For? | The New Yorker</title>
    <dc:date>2025-12-31T21:08:12+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2025/12/29/unabridged-the-thrill-of-and-threat-to-the-modern-dictionary-stefan-fatsis-book-review</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The print edition of Merriam-Webster was once a touchstone of authority and stability. Then the internet brought about a revolution."

[archived:
https://archive.ph/kM8wn ]]]></description>
<dc:subject>dictionaries internet web online linguistics evolution language 2025 merriam-webster history stefanfatsis louismenand words english oed whauden oxfordenglishdictionary etymology howweread reading howwewrite writing samueljohnson noahwebster johnmcwhorter standards standardization davidfosterwallace philipgove jacquesbarzun vocabulary us uk gabyrasson neologisms texting messaging microsoftword dialect change meaning meaningmaking definitions urbandictionary howwespeak speech americanheritage</dc:subject>
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    <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>
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<item rdf:about="https://grist.org/language/nature-word-language-disappear-culture/">
    <title>The words we use to talk about nature are disappearing | Grist</title>
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    <link>https://grist.org/language/nature-word-language-disappear-culture/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We’ll need to do more than "touch grass" to revive them."]]></description>
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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>
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    <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>
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<item rdf:about="https://www.caitlinjohnst.one/p/the-word-terrorist-becomes-more-and">
    <title>The Word &quot;Terrorist&quot; Becomes More And More Of A Joke By The Day</title>
    <dc:date>2025-09-09T03:08:49+00:00</dc:date>
    <link>https://www.caitlinjohnst.one/p/the-word-terrorist-becomes-more-and</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["British police arrested nearly 900 people over the weekend for expressing support for the peace activist group Palestine Action. Under UK law it is illegal to express favorable opinions about the group because London has deemed Palestine Action a terrorist organization, in the same category as ISIS or Al Qaeda.

At the same time, the Trump administration is defending its assassination of a boat full of Venezuelans on the allegation that they were “narcoterrorists”, an imaginary category designed to lump garden variety drug traffickers in with suicide bombers and mass shooters.

The word “terrorist” becomes more and more of a joke by the day.

[screenshot: https://x.com/caitoz/status/1964457887696290204

"I used to think a terrorist looks like a deranged maniac killing large numbers of civilians. Now I know a terrorist actually looks like a woman in a wheelchair holding a piece of cardboard with forbidden words written on it."]

In the UK a terrorist is someone with a cardboard sign saying “I support Palestine Action”.

In the US a terrorist is a Venezuelan suspected of drug trafficking.

In Israel a terrorist is someone resisting occupation.

We’re told Yemen is full of terrorists because they’re trying to stop a 21st century holocaust.

We’re told Lebanon is full of terrorists because they oppose a genocidal apartheid state.

We’re told Iran is full of terrorists because its government resists imperial regime change agendas.

We were told Al Qaeda were terrorists because they perpetrated the 9/11 attacks, but when Al Qaeda helped the west get rid of Assad they suddenly weren’t terrorists anymore.

Uyghur militants used to be terrorists, but they came off the list when they were deemed useful operatives against Beijing and Damascus.

Iraq needed to be invaded because Saddam wanted to give weapons of mass destruction to terrorists, but after the invasion it turned out that there were no weapons of mass destruction, and then Iraq was suddenly plagued by an epidemic of suicide bombings.

Afghanistan needed to be invaded because the Taliban was providing a safe haven for terrorists, but after 20 years of military occupation the empire needed its war machinery for other duties so they let the Taliban retake Afghanistan.

In 2010, then-vice president Joe Biden proclaimed Julian Assange a “high-tech terrorist” because his journalism with WikiLeaks exposed US war crimes.

Terrorism was used as an excuse to roll out the Patriot Act in the US and the Terrorism Act in the UK, and countless other authoritarian measures throughout the western world which tyrannical empire managers had been seeking to impose for years.

[screenshot of https://x.com/caitoz/status/1964800706252280045

"Such undignified bootlickery how American right wingers suddenly started pretending "narcoterrorists" is a real term and that assassinating drug dealers is actually killing terrorists just because the president commanded them to believe that. Pure 1984 Orwellian doublethink."]

Really “terrorist” just means someone the empire wants to kill or imprison, or a group whose terrorist designation might be used to justify the advancement of preexisting geostrategic agendas.

Propaganda is used to sear events like 9/11 into western consciousness as examples of terrorism which must be prevented at all cost, and then this label “terrorism” is applied to literally anyone who poses an obstacle to the agendas of the western empire.

Once it is accepted that there should be no rules restricting how the state responds to the threat of terrorism, all the state needs to do is label someone a terrorist to remove all rules which might stop them from doing whatever they want to do. Nowhere is this more clearly illustrated right now than the ongoing genocide in Gaza which is being justified by the need to eliminate terrorists.

When power-seeking empire architects are given limitless power to fight terrorism, we suddenly find ourselves in a world full of designated terrorists.

The more despised the western empire becomes, the more “terrorists” there are going to be. Because a terrorist is anyone who takes action which inconveniences the empire.

If this keeps up, soon we will all be “terrorists”."]]></description>
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<item rdf:about="https://www.alinastefanescuwriter.com/blog/2022/1/3/ways-of-looking-at-a-writing-notebook">
    <title>Ways of looking at a writing notebook. — alina Ştefănescu</title>
    <dc:date>2025-07-13T20:42:08+00:00</dc:date>
    <link>https://www.alinastefanescuwriter.com/blog/2022/1/3/ways-of-looking-at-a-writing-notebook</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The notebook is a chronicle of fascinations. 

I like how Jim Galvin focuses on teaching poetry as the techne of drawing a person closer to fascination, indicting them in our marvel. He calls delight "an emotional connection to the task that is before us”—and good poetry is a "presentation of passions." 

Poetry approaches dread of death by preserving life in tribute—it intensifies the act of living for as long as you engage in it. The tribute does not live in the generalizations but in the specifics and details, which is to say—it is not an abstract man who died but rather, it is a human who collected fedoras and loved cats and taught his children three languages on road trips across America.

The notebook is a space to continue conversations with the self. 

Alexandria Peary encourages the writer to continue the conversation with themself, the constant evolution and interrogation. She urges us to "prolong invention," to extend the discursive part of practice by writing down the "interrupting thoughts" in a notebook as they come. Then returning to the present moment, noting the distance of the audience in the space prior to its existence. Against the habit of writing familiar topics, she urges us to cultivate "allegiance to the present moment" and venture off paths, respecting the fluctuations.

The notebook is an encounter with the "I". 

Ada Limon addressed the change in her poems, the move to first person, as a sort of commitment to self-knowledge. The challenge of increasing personal stakes by shifting to first person, building the I. "I need to protect myself for my own writing." We're afraid to be direct because it's associated with feminine confessional mode, which has undercurrents of shame.

"Fear is only excitement without breath,”  Ada Limon has written—which leads directly to the next part.

The notebook is a compendium of fears, tiny terrors, daily break-beat heart steps. 

My obsession with cruelty. Susan Sontag, Simone Weil, and others. A religious impulse that flowered after having children. To know that love could be Kali, eating her children. Or Medea, killing them to protect them from the father's lack of love. 

The notebook is an inventory of techniques and craft moves.

A place to keep a list of choices or pivots in a poet. Cracks in concrete where something unplanned might bloom. Ada Limon likes endings "that stick to your bones." A good poem has to "make a choice at the end". One snake has to win.

The notebook is a place of personal repudiations and intellectual conflicts.

<blockquote>"The earth appears as itself only when it is perceived and preserved as that which is by its nature undisclosable, that which shrinks from every disclosure and constantly keeps itself closed up."

- Martin Heidegger</blockquote>

My notebooks contain snippets of conversations, letters, articles, essays, and text related to the relationship between Hannah Arendt and Martin Heidegger. The part of me that loves Arendt as a thinker wants to challenge Heidegger, to demand more from a man who hurt so many—and so casually. Where he wants to sacralize the unsayable, I want to write against the silence, against the grain of mercy. I can be my worst and most relentless self in the notebooks; no one will see.

The notebook is a garden for beloved words, an arsenal for poems to come. 

Surely CD Wright cribbed a bit from her notebooks to provide this fantastic essay on words and language in poetry:

<blockquote>"I like nouns that go up: loft. And ones that sink: mud. I like the ones that peck: chicken. And canter: canter; those that comfort: flannel and pelt. Cell is an excellent word, in that it sweetly fulfills its assigned sound in a small, thin container. Unlike hell, which is disappointing. Overall. Wanting in force and fury. I like that a lone syllable names a necessary thing: bridge, house, door, food, bed. And the ones that sustain us: dirt, milk, and so on. What a thing, that a syllable—birth, time, space, death—points to the major mysteries with such simplicity, as with a silent finger. And to our very vital parts: head, snout, heart, butt. And our fundamental feeling, fear."</blockquote>

What excellent words get overlooked? What do you love about them? The notebook offers an opportunity to celebrate the words themselves, and how they move—or how they move you—what they want from the line. It is not enough to love a word for its connotations. The poet must palpate the roots. Include etymological notes. Study how a word changes over time. 

The notebook is a small hole at the base of a tree where a child hides the miracles adults won’t believe.

<blockquote>The structure of the miracle has a similar form: out of another time, from a time that is alien, arises a ‘god’ who has the characteristics of memory, that silent encyclopedia of singular acts, and who, in religious stories, represents with such fidelity the ‘popular’ memory of those who have no place but who have time—‘Patience!’… But all these variants could very well be no more than the shadows—enlarged into symbolic and narrative projections—thrown by the journalistic practice that consists in seizing the opportunity and making memory the means of transforming places. … In short, what constitutes the implantation of memory in a place that already forms an ensemble? That implantation is the moment which calls for a tightrope-walker’s talent and a sense of tactics; it is the instant of art. Now it is clear that this implantation is neither localized nor determined by memory-knowledge. The occasion is taken advantage of, not created. … Like those birds they lay in other species’ nests, memory produces in a place that does not belong to it. … Memory derives its interventionary force from its very capacity to be altered—unmoored, mobile, lacing any fixed position…'

- Michel de Certeau, The Practice of Everyday Life</blockquote>

The notebook is a staging ground for the poetry collection. 

A quote followed by a reaction and reconfiguration of that quote. I think of Sandra Doller's Memory of the Prose Machine (Dusie Press), and how she uses the Certeau quote at the beginning. How she does this thing with budding phrases that she drops and brings back as refrains. How she builds a sort mini-memoir about family life during the Reagan years (and the demonization of Amy Carter) by jumping around but not saying it explicitly. So it feels muffled, silenced, embued with a casual suburban dread. Unspoken yet said—an undercurrent.

The notebook is a vehicle that enables the mind to re-member.

To remember. Or, as William Maxwell wrote in a letter to a friend a few years before he died: 

<blockquote>“Don’t—or at least I don’t think it is reasonable to—feel sad about the transitoriness of things. What you have had you will always have if you are a rememberer.”</blockquote>

Don't forget: the hummingbird's feathers iridesce because each one contains tiny air bubbles that bounce light differently, at different angles. This may matter. 

The notebook is a fragmented essay waiting to be shaped.

Brandon Shimoda wrote an essay on poetics as a journal composed from letters to and from friends during a period of time. Called it "fragments from a relationship" rooted in Maine, but also a relationship to the poet self, the voice, the writing:

<blockquote>"Everything is not a poem. How could there be any solidification? My recent feeling is that poetry is nothing more (or less) than the attempt to make a thing called a "poem," which means that nothing is actually a poem, and everything is not. Nothing short of our last day on earth, the one we will not remember, for having quit life on its heels. And so it is, simply, life, another way to spend it. Consolation is often confused for salvation. But poetry?"</blockquote>

Notebooks allow us to date, or to situate thoughts in time, to watch how a footprint melts in the snow and becomes something else. 

The notebook is a monastery for the preservation of arcana. 

Francis Ponge said: "Another way to approach a thing is to consider it unnamed, as well as unnameable." 

Ponge's essay, "The Pebble," takes a mystical approach to a physical object by probing its myths, origins, and powers. The notebook is filled with pebbles and opportunities.

The notebook is a series of musings on craft, the surprising scaffold for a craft essay.

I’m thinking of Dan Beachy-Quick's "January Notebook", which mixes observations on the season with thoughts on poetry. I’m thinking of this:

<blockquote>Why do I keep reminding myself that Homer wasted away to his death, refusing to eat or drink, because he could not understand what the young boys fishing meant when they said, What we caught we left behind, and what we missed we bring home. Homer being that poet who is some figure of us all, that poet who went blind because he refused to alter what he wrote about Helen when Helen’s spirit demanded he retract. He could not see through the riddle, and so he died. The boys were speaking about lice.</blockquote>

The notebook is a space for self-reflection—for seeing our expectations starkly.

To write is to make it real. Or to value something enough to create it. To stare at it later. To transcribe the way the world washes over us. To unobserve the self. 

In her essay, “The Discipline of the Notebook,” novelist Bonnie Friedman says the days she doesn't write return her to "the incomprehensible-feeling person" she was when demanding excessive things from her mother, trapped in the image of those "excessive, inalienable needs.” Friedman says we have to: “attract our materials before we can see what they promise...The vessel precedes significance. In a way, it is the signficande: the commitment to register life. And beyond that—the conviction that perception itself salvages, saves.”

The notebook is a home for abandoned, overlooked images. 

"A writer's notebook becomes a record, or the objectification of a mind," said Lydia Davis in her essay, “Revising One Sentence." Davis keeps her notebook near her writing to catch images that appear in the wrong story. She doesn't adopt out those orphans by wedging them in but offers them to the notebook. Then her mind is free from worrying about the orphan image. It is safe to go back into writing.

The notebook protects others from the least humane parts of me.

Sometimes notebooks protect others from me. Bonnie Friedman remembers being seven and the "sadness, shame, and need—a stuck-together heap, something untranslatable, craving expression but defying it." She claims to revert to this "untranslatable girl again" when she doesn't notebook. 

<blockquote>I am a neighbor to myself, tapping behind the wall, shifting, trying not to panic. Without the notebook, who knows what anything means?</blockquote>"]]></description>
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<item rdf:about="https://daily.jstor.org/what-is-serendipity/">
    <title>What Is Serendipity? - JSTOR Daily</title>
    <dc:date>2025-07-12T00:40:17+00:00</dc:date>
    <link>https://daily.jstor.org/what-is-serendipity/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["We often credit unexpected events to serendipity. But who amongst us knows The Three Princes of Serendip, the tale from which the word derives?"

...

"“I define serendipity as the art of making an unsought finding,” writes Pek Van Andel in The British Journal for the Philosophy of Science. There appear to be endless scenarios to which this unusual word can be applied: getting lost on the highway, which leads to a new friendship made at a pit stop; mixing up ingredients in a recipe and discovering a surprisingly delightful new flavor combination; setting out to invent one thing but ending up with the invention of another; falling in love not with your blind date but with the server at the restaurant instead.

The word that umbrellas all of these concepts can be traced back to the innovation of English politician and writer Horace Walpole. Walpole is known to literature students for composing the Gothic romance novel The Castle of Otranto, but his more widely known claim to fame is the invention of a new word to describe something wonderful that happens when you least expect it. It happened to him when he found something he wasn’t looking for.

On January 28, 1754, Walpole wrote a letter to his good friend Horace Mann. Mann, using his wealth and connections, had secured a portrait of Bianca Cappello, a late Grand Duchess of Tuscany, as a gift for Walpole. Walpole, who loved everything to do with Italian history, cherished the painting. He went on a research spree one day and unexpectedly found a Capello family crest that incorporated the fleur-de-lis of the Medici family into which Bianca had married. The marriage had been scandalous, as Bianca had been the mistress of Francesco I de’ Medici, Grand Duke of Tuscany, before becoming his second wife.

Finding an official crest representing the widely disapproved-of marriage was a surprise. Walpole described the experience in his letter to Mann as “serendipity,” inspired by the Persian tale The Three Princes of Serendip in which the titular princes make grand discoveries by accident and observation. Most notably, they catalogue the defining characteristics of a lost camel without ever seeing the beast (Walpole, who read the story in his youth, misremembered the anecdote and believed the princes tracked a mule), put into play a plan to restore a love- and grief-stricken emperor to good health, and (perhaps less fortunately) returned a kidnapped girl to her position as a slave in the emperor’s court.

The noun “serendipity” has expanded into the adjective “serendipitous,” which is used to describe an unlikely and lucky event, such as the invention of many now commonplace items that were created by accident, including, but not limited to, microwaves, Popsicles, Post-It notes, and the antibiotic penicillin. Van Andal, who divides serendipitous situations into “patterns”—some “seventeen ways in which unsought findings have been made”—characterizes the invention of Post-It Notes in 1968 by Spencer Silver as a “successful error” serendipity, citing R. M. Roberts’s 1989 textbook, Serendipity: Accidental Discoveries in Science.
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“The ‘bad and discarded’ glue,” Van Andel writes, “the ‘temporarily permanent’ adhesive on removable self-stick post-it notes, was unintentionally invented at 3M.”

The word gained popularity after the release of the 2001 romantic comedy film Serendipity, directed by Peter Chelsom. The film follows a couple who meet by chance and feel an instant attraction to one another. Though they’re both already in relationships, they conduct a series of small chance-reliant tests to determine if they’re meant to be together. This premise is, of course, scripted. In real life, serendipity only happens when you’re not waiting for it or trying to force it."]]></description>
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<item rdf:about="https://nymag.com/intelligencer/article/openai-chatgpt-ai-cheating-education-college-students-school.html">
    <title>Rampant AI Cheating Is Ruining Education Alarmingly Fast</title>
    <dc:date>2025-05-08T03:05:22+00:00</dc:date>
    <link>https://nymag.com/intelligencer/article/openai-chatgpt-ai-cheating-education-college-students-school.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["ChatGPT has unraveled the entire academic project."

[archived:
https://archive.ph/ydJJN

via:
https://www.theverge.com/ai-artificial-intelligence/662822/the-story-everyone-at-the-verge-is-reading-today ]]]></description>
<dc:subject>cheating education chatgpt ai artificialintelligence openai colleges universities highered highereducation 2025 jameswalsh schools ethics integrity teaching learning howweteach howwelearn columbia cluely writing howwewewrite leetcode coding orinstarn duke michaeljohnson dukeuniversity samaltman jonathanhaidt universityofchicago robertsternberg criticalthinking genz generationz lakshyajain compsci samwilliams stanford tiktok zerogpt turnitin plagiarism language llms words wording howwewrite chegg coursehero troyjollimore microsoft copilot google gemini anthropic claude neelshanmugam chunginlee roylee zoomers</dc:subject>
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<item rdf:about="https://chinadigitaltimes.net/2024/08/word-of-the-week-garbage-time-of-history-%E5%8E%86%E5%8F%B2%E7%9A%84%E5%9E%83%E5%9C%BE%E6%97%B6%E9%97%B4-lishi-de-laji-shijian/">
    <title>Word of the Week: Garbage Time of History (历史的垃圾时间, lìshǐ de lājī shíjiān)</title>
    <dc:date>2025-04-16T19:43:35+00:00</dc:date>
    <link>https://chinadigitaltimes.net/2024/08/word-of-the-week-garbage-time-of-history-%E5%8E%86%E5%8F%B2%E7%9A%84%E5%9E%83%E5%9C%BE%E6%97%B6%E9%97%B4-lishi-de-laji-shijian/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>language chinese time sports history words</dc:subject>
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<item rdf:about="https://es.quora.com/Qu%C3%A9-uso-le-dan-a-la-palabra-Garca-en-Argentina">
    <title>¿Qué uso le dan a la palabra ‘Garca’ en Argentina? - Quora</title>
    <dc:date>2025-01-26T23:02:18+00:00</dc:date>
    <link>https://es.quora.com/Qu%C3%A9-uso-le-dan-a-la-palabra-Garca-en-Argentina</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Garca es el vesre de "cagar" (vesre es "revés" al revés, o sea, al vesre).

Pero, mientras "cagar" es un verbo, garca es un sustantivo y es sinónimo de "cagador".

Un cagador o garca es alguien que te caga, es decir, te perjudica, de maneras diversas: estafándote, engañándote, siendo desleal. Por ejemplo, te puede cagar la mina, es decir, quitarte a tu pareja, o, directamente, cagarte la vida.

La forma verbal al vesre de cagar es garcar y, aparte de todo lo dicho, también significa defecar.

Pero garca tiene otra acepción y otra etimología, como bien lo explica Francisco Lopez en un comentario: garca también es un apócope de "oligarca", que es la forma como se denomina a los ricos.

En todo caso, ambos significados confluyen, puesto que un oligarca probablemente te termine garcando."]]></description>
<dc:subject>language lunfardo argentina words</dc:subject>
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<item rdf:about="https://poems.com/features/what-sparks-poetry/alana-marie-levinson-labrosse-on-resurrection/">
    <title>Alana Marie Levinson-LaBrosse on “Resurrection” – Poetry Daily</title>
    <dc:date>2025-01-20T20:20:59+00:00</dc:date>
    <link>https://poems.com/features/what-sparks-poetry/alana-marie-levinson-labrosse-on-resurrection/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kurdish is a language in which words often break down into image. A friend, haur̄ê (هاوڕێ), shares your path. A lover, hauser (ھاوسەر), shares your head. I do not wait for you, çauer̄êm (چاوه‌ڕێم), I put my eyes in the road. You do not disappoint me, destî şkawm (دەستی شکاوم), you break my hands. No one confesses, danî pêdabnî (دانی پێدابنی), one steps on one’s teeth. To comfort, dłdanewe (دڵدانەوە), one gives back the heart. This element of Kurdish delights me: to crack a word open and peer inside it, to find a world within a word, a world where the abstract is embodied. The Kurdish language calls the body into every conversation, fashioning idea from body. There is no hiding the body, not even to protect it.

Each time I translate a poem from Kurdish, I map where these images occur then decide how, where, and if I can sustain that image in English. These images are so new to English, so inventive, and so emblematic of how the Kurdish language tends toward the palpable, I lean toward keeping as many of them as the translation will bear. This process became a negotiation when I translated the poems of Abdulla Pashew in consultation with the poet himself. Pashew, perhaps the most famous Kurdish poet alive today, is fluent in English, Russian, Arabic, and Kurdish.

We discussed each translation from Dictionary of Midnight (Phoneme Media/Deep Vellum, 2019). When he wasn’t sure of a word, or couldn’t find what he was looking for in English-Kurdish dictionaries (as yet underdeveloped), he would track a word from Kurdish into Arabic or Russian and then into English: a remarkable game of hopscotch. Examining each translation at the level of the word, we quickly recognized that I strived to preserve these images where Pashew would prefer I normalize them.

To him, these words were not remarkable. Translating them as live images rather than dead metaphors distracted the reader and asked the poem to do work the poet had not intended. To me, these words were part of the poem’s work, and part of how the poems could bring newness to familiar ideas of love, country, exile, longing. Instances of this difference crept up so often, they became a joke between the two of us. “Ah, Marusha,” the poet would laugh, using Russian diminutives, and then we would battle it out.

His poem “Resurrection” took us to several battlefields. Structurally, the poem is simple. The poet begins in despair. Then, the world interrupts and “compels” him “to beg the heavens / to stretch the bridge of [his] life so long / [he] won’t be able to cross it, even in a thousand years.” The belly of the poem is the list of all the ways in which the world interrupts his despair. Within this list are several of these image-laden, embodied words.

Kurdish does not use “blade of grass”, but “finger of grass” (pnjegia, پنجەگیا). There is no “burst of an infant’s laughter,” but a “yellow smile” (zerdexene, زەردەخەنە). There is an “ample woman,” but more precisely, there is a “knight-lady” (şorejn, شۆرەژن), a companion word to one of the highest Kurdish compliments for a woman: lion-lady (şêrejn, شێرەژن). And this “ample woman,” her breasts are not actually “rebellious,” but have “weighty heads,” bodies within bodies.

Just listing these here, I am drawn in again by all the possible translations. As a translator, I challenged but honored Pashew’s sense of when to make the novel images hidden within Kurdish visible. In another poem, “Good Morning,” we went several good-natured rounds on a phrase that could have been lexicalized as “a branch in a strong wind.” Having just read Pound’s “In a Station of the Metro,” with the rhythm of his “petals on a wet, black bough” echoing in my head, I couldn’t pass by the more literal rendering: “a branch in the mouth of a black wind.” Oh, and “echo”? To give back the voice.

In “Resurrection,” I deferred to the lexical. As a poet, I can live in the world of a single word. I can imagine what it means for breasts to have their own weighted heads, for there to be bodies within bodies. I can think about how the words “gravity” and “head” create the word “defiant,” how I could invite the images and questions that live in “Resurrection” out of the shadows. And this is the fascinating dichotomy of Kurdish for native speakers: the body is constantly present and precisely because of that it is somehow overlooked. This is the joy of coming to a new language as an adult. I am once more a child. Each word I learn is strange. Every image is play. Every sentence, experiment. My ears are alive to the language. I hear the body everywhere."

...

"Writing Prompt
Write a poem in which you cannot escape the body. Use Kurdish embodied abstractions or invent your own. Or revisit one of your own poems. Cross out each abstraction. Using Kurdish expressions or your own, see how the poem changes when it emerges from the body.

— Alana Marie Levinson-LaBrosse"]]></description>
<dc:subject>via:shiraz 2025 alanamarielevinson-labrosse kurdish language translation form poetry writing howwewrite arabic russian abdullapashew williamvollman words</dc:subject>
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<item rdf:about="https://www.bewitched.com/demo/anti/">
    <title>Anti-Tag Clouds</title>
    <dc:date>2025-01-01T06:34:41+00:00</dc:date>
    <link>https://www.bewitched.com/demo/anti/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["An Anti-Tag Cloud shows you the most common English words that never appear in a text, visualizing the "negative space" of a literary work. Size indicates how frequent a word is across other texts."

...

"Texts via Project Gutenberg. Word frequency data derived from Wiktionary frequency lists that are based on Project Gutenberg data. Some stopwords have been removed, especially when they lead to confusing results (e.g., "towards" and "toward" appear quite often in anti-tag clouds, because they are both common and authors rarely use both.) A few US/British pairs have been edited out, especially "honour/honor".
Note: If you try this yourself on your own texts, be careful because the frequency data from Wiktionary includes the boilerplate headers and footers from Project Gutenberg. For any other source of data, you probably want a different frequency list anyway, more reflective of typical English."]]></description>
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<item rdf:about="https://www.youtube.com/watch?v=oFFNahC1rIg">
    <title>Writer Peter Waterhouse: Being Is a Great Activity | Louisiana Channel - YouTube</title>
    <dc:date>2024-12-26T21:50:44+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=oFFNahC1rIg</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Austrian poet and writer Peter Waterhouse explores the concept of time, poetry, and the art of being. Known for his contemplative and philosophical approach, Waterhouse reflects on how the creative process often occurs in moments of stillness and presence, rather than in perpetual motion. 

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

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

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

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

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

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

Danish poet Morten Søndergaard interviewed Peter Waterhouse in connection with the Louisiana Literature festival in August 2024 at the Louisiana Museum of Modern Art."]]></description>
<dc:subject>peterwaterhouse being mortensøndergaard 2024 time poetry process presence stillness identity memory williamkentridge therefusaloftime bees activity action art life living writing howwewrite travel place death dying language words danish german austria truth acceptance childhood future money now present eternity unfinished incomplete imperfect imperfection perfection harmony wittgenstein succession ingerchristensen paulcelan johannnestroy movement progression industriousness observation reading howweread progress translation unevenness busterkeaton incompleteness</dc:subject>
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<item rdf:about="https://languagelog.ldc.upenn.edu/nll/?p=67086">
    <title>Language Log » Macquarie's 2024 WOTY is &quot;enshittification&quot;</title>
    <dc:date>2024-11-26T19:39:14+00:00</dc:date>
    <link>https://languagelog.ldc.upenn.edu/nll/?p=67086</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>markliberman langyage words wnshittification 2024 corydoctorow</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4d7a3dc91840/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=z_UtRe9DgvE">
    <title>The truth about Shakespeare - YouTube</title>
    <dc:date>2024-11-17T01:06:42+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z_UtRe9DgvE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Let's explode some Shakespeare myths! And "zounds"

William Shakespeare is arguably the most significant cultural figure of all time. But has his contribution to the English language been overstated? Let's find out:

   🧐 Did Shakespeare really "invent" 1,700 words?
   🎭 Which common phrases did Shakespeare give us?
   📚 Is there any truth in claims Shakespeare didn't write his plays?

These question answered and many more in this myth-busting episode of RobWords.

==CHAPTERS==
0:00 Introduction
0:14 Shakespeare facts
1:20 Words Shakespeare DIDN'T invent
10:29 How many did he invent?
13:36 Words Shakespeare DID invent.
16:24 Phrases from Shakespeare
17:55 Did he write his plays?"]]></description>
<dc:subject>robwords 2024 language neologisms words invention shakespeare english</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e74bc79d2e19/</dc:identifier>
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<item rdf:about="https://yalereview.org/article/chris-ware-richard-scarry">
    <title>The Yale Review | Chris Ware on Richard Scarry and the art of children’s literature</title>
    <dc:date>2024-11-04T09:36:11+00:00</dc:date>
    <link>https://yalereview.org/article/chris-ware-richard-scarry</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Richard scarry’s work could not have been told just in words, either. As Walter Retan and Ole Risom argue, Scarry “didn’t write his stories; he drew them.” His bestselling book was not titled Best Picture Book Ever, even though that’s really what it is. As children, we see the world in all its detail, texture, and beauty, but when we learn the word for, say, a bird, we cease to see it as clearly or curiously as we did before we categorized and dismissed it. John Updike eloquently and beautifully captures this confounding contradiction in his short story “Pigeon Feathers,” where the main character only notices the iridescent, divine beauty in a pigeon’s plumage after he’s shot several of them to pieces in the rafters of a barn. Like it or not, just as adulthood runs roughshod over childhood, words chew images to shreds, and it’s up to the artist—or the writer or the cartoonist—to put those images back together again. Pictures are our first language for understanding the world, but that doesn’t mean they should be ignored in favor of a second. Or, as Dave Eggers once kindly put it, cartoonists (and I include Scarry in this group) needn’t be punished for having two skills instead of one.

Scarry drove headlong into a picture-world that he illustrated with words, a world which blossomed into life in a way that his earlier books for Golden, in which his pictures illustrated words, simply couldn’t. He kept in touch with his child self so well that, as both his biographers and other writers have highlighted, he didn’t test his books on children, because he had “remained very childlike himself.” And he knew exactly where the child inside him still lived: his kind heart."]]></description>
<dc:subject>richardscarry childrensbooks books illustration design chrisware 2024 daveeggers johnupdike artspiehelman terryzwigoff randomhouse busytown us switzerland citizens citizenship belonging children childhood experience dictionaries drawing words language richardsimon maxschuster albertleventhal westernpublishing art artists georgesduplaix lucilleogle feodorrojankovsky tiborgergely gustaftenggren biglittlebooks littlegoldenbooks goldenbooks patriciamurphy school schooling walterretan olerisom 1974 childrensliterature</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:4e9af4f464ac/</dc:identifier>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=RAGcDi0DRtU">
    <title>Ismo: Ass Is The Most Complicated Word In The English Language | CONAN on TBS - YouTube</title>
    <dc:date>2024-11-01T23:09:52+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=RAGcDi0DRtU</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Finnish comedian Ismo thought "ass" just meant "butt." But that’s just the tip of assberg."]]></description>
<dc:subject>english language ass ismo 2024 words humor comedy 2018</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:d507b0880831/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:english"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ass"/>
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<item rdf:about="https://web.archive.org/web/20220929224714/http://notokensjournal.com/non-fiction/overflowing-reflections-on-my-name/">
    <title>Overflowing: Reflections on My Name : No Tokens</title>
    <dc:date>2024-10-28T19:11:16+00:00</dc:date>
    <link>https://web.archive.org/web/20220929224714/http://notokensjournal.com/non-fiction/overflowing-reflections-on-my-name/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jaeyoonyoo names naming korea southkorea 2022 warsanshire language tradition traditions words english korean</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:18ba534ed038/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:jaeyoonyoo"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=9qFNJo1xgGI">
    <title>Are these words &quot;untranslatable&quot; into English? - YouTube</title>
    <dc:date>2024-10-22T14:37:31+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=9qFNJo1xgGI</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["English has already borrowed thousands of words from French. However, there are still many beautiful and useful French words for which English has no equivalent. In this video, I introduce you to 10 of them (and propose we steal them for ourselves".

==CHAPTERS==
0:00 Introduction
0:55 10 Rebonjour
2:16 9 Gourmandise
4:09 8 Goûter
5:22 7 Chez
7:21 Lingoda
8:43 6 Si
11:43 5 Tutoyer
14:26 4 Connaître
17:58 3 Flâner
19:18 2 Dépaysement
20:46 1 Bouquiner"]]></description>
<dc:subject>robwords language english words french flaneur 2024 flâneurs flaneurs flâneur translation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:fafb9a180b4b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:robwords"/>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=Syp1DVQgN_g">
    <title>The invention that broke English spelling - YouTube</title>
    <dc:date>2024-09-28T21:14:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Syp1DVQgN_g</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["The invention of the printing press ushered in a literary revolution, helping to create the world as we know it. However... it also made a terrible mess of English.

In my latest YouTube video I explore the impact of Johannes Gutenberg's contraption on the world and on our language. Plus, with the help of design master and font fanatic ‪@LinusBoman‬, I delve into the everyday terms we get from the world of printing.

==CHAPTERS==
0:00 Introduction
0:28 Invention of the printing press
2:50 William Caxton
4:25 Chancery English
4:48 NordVPN
7:17 The H in ghost
8:58 HW words become WH
10:03 Silent letters
11:04 Great Vowel Shift
12:45 Terms from printing
13:13 Linus Boman
13:52 Font or typeface?
16:00 "Out of sorts"
16:32 "Mind your Ps and Qs"
17:10 "Uppercase" and "lowercase"
18:18 "Cliché" and "stereotype"
20:00 "Logo"
21:29 Dodgy printing vocabulary"]]></description>
<dc:subject>printing print history gutenberg moveabletype robwords johannesgutenberg english language spelling latin linusboman williamcaxton silentletters typefaces fonts england uk greatvowelshift linguistics pronunciation phonetics typography idioms uppercase lowercase stereotypes cliches clichés logos logograms logotypes typecasts typecasting vocabulary words</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:444b226c9f34/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:printing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:print"/>
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<item rdf:about="https://currentpub.com/2024/09/19/words-for-conviviality/">
    <title>Words for Conviviality</title>
    <dc:date>2024-09-21T20:18:46+00:00</dc:date>
    <link>https://currentpub.com/2024/09/19/words-for-conviviality/</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>jeffreybilbro 2024 coviviality words media technology ivanillich toolsforconviviality industrialization professionalization waelghonim internet web online misinformation renewal albertborgmann spotify twitter conversation relationships truth hermanmelville margaretfuller thoreau dialog engagement</dc:subject>
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<item rdf:about="https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/">
    <title>Twenty-Six Theses on Textual Technologies - Front Porch Republic</title>
    <dc:date>2024-09-16T19:26:59+00:00</dc:date>
    <link>https://www.frontporchrepublic.com/2024/09/twenty-six-theses-on-textual-technologies/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Presenting a set of theses for disputation is an old form, with Martin Luther’s “Disputation on the Power and Efficacy of Indulgences” being the most famous instance. As Luther’s title reminds us, these theses were printed to set the stage for a verbal disputation (though it appears that Luther’s ninety-five theses were never formally debated in Wittenberg). Similarly, the theses that follow are not summative declarations so much as provocations to thought and discussion. (For another example of this genre, see Alan Jacobs’s “Attending to Technology.”) As Francis Bacon notes, aphorisms, because they represent “only portions and as it were fragments of knowledge, invite others to contribute and add something in their turn; whereas methodical delivery, carrying the show of a total, makes men careless, as if they were already at the end.” So if these raise questions or stir fierce disagreement, my hope is that readers will have a keener appetite for the pilgrimage that follows.

These theses are by no means original to me, but rather than including references here, I will more fully acknowledge my sources in the subsequent pages. To make it easier for interested readers to trace these connections, I will refer back to these theses throughout the book (e.g., see thesis 22). Given the primary role the alphabet plays in all subsequent textual technologies, I thought it fitting to include the same number of theses as there are letters in the modern English alphabet. Finally, in keeping with a digital disputatious technology, these aphorisms are all fewer than 280 characters, the limit on tweets after 2017. While arranging theses for a disputation is an old genre, it is also a contemporary one.

1. Language is primarily a relational (rather than a representational) technology. Words articulate our relationships to God, other humans, our environment, and even ourselves.

2. Because meaning arises from relationships, metaphor and analogy are at the heart of language.

3. In the Christian tradition, Christ’s role as mediator and reconciler between God and Creation flows from his identity as the Word. The Word mediates. This mediating Word is the one who declares himself the Truth.

4. Beauty and truth and goodness name harmonious forms of relationships.

5. Truth is ultimately dramatic or symphonic, not propositional.

6. To know the truth is to be in tune with a complex, polyphonic reality. One might say that a “fact” is “true” if it helps us relate to the world in a more proper, harmonious, beautiful, healthy, or just manner.

7. Harmony is experienced more fully in artistic or poetic forms rather than in rational exposition. Metaphor, poetry, and narrative invite readers to participate in a harmonic order rather than to map it analytically.

8. The highest use of language is to serve friendship, and the kinds of conversations our textual technologies encourage will shape the kinds of friendship that are imaginable.

9. Cultures develop the technologies they desire, and the technologies a culture uses shape its desires. One might call this recursive causation.

10. Convivial technologies and practices cultivate friendships—they foster harmonious relationships among different members (including other humans, creatures, God, and the self).

11. The history of textual technologies in the West—the alphabet, punctuation, spaces between words, moveable type, digital pixels—is a history of atomization.

12. These textual technologies have caused words to migrate from an aural habitat to a visual one.

13. These textual technologies have also led readers to imagine ideas as objects that are extended in space. Like type and pixels, ideas become bits (or bytes) that can be manipulated and rearranged to form new meanings.

14. Print and pixels do have certain differences: Print renders ideas as solid—they feel graspable, reliable, fixed. Pixels render ideas as ephemeral—they appear from a distant cloud or web, and we surf them as they float away.

15. Both, however, contribute to a spatial view of language and reality that leads us to imagine reason as a faculty for the perception and manipulation of objects. However, the highest mode of reason is an imaginative participation in reality.

16. The atomization of language makes discrete bits of information appear increasingly interchangeable and manipulable.

17. Powerful textual technologies can spread ideas widely, but insofar as they render meaning atomized and fungible, they threaten the intelligibility of truth and beauty and goodness.

18. Atomization can free individuals from diseased bodies or communities, but the atomizing effects of print and pixel are like the toxins of chemotherapy—better than cancer, but not, in themselves, healthy.

19. The recombinations that atomization makes imaginable fragment old syntheses and lead to new forms of meaning.

20. The introduction of new textual technologies dissolves old communities and forms new ones (nations, denominations, political parties, factions, fandoms, interest groups).

21. As textual technologies mature, they diversify and fragment conversations they sustained in their youth.

22. The tension between the liberative power of atomization and meaning’s dependence on relationships defines the paradoxes inherent in the disparate effects of textual technologies.

23. There is always an analogy between our dominant way of imagining words and our dominant metaphors for the mind and the self.

24. If words are imagined spatially, the human self becomes a bounded container with manipulable contents, and other selves appear to be objects, commodities, or avatars (“Its” rather than “Thous”).

25. The Enlightenment subject, the buffered self, is a creature of print. The postmodern subject, the anxious, lonely, identity-morphing self, is a creature of pixels.

26. In an atomized world inhabited by commodified subjects, convivial friendship—loving, intimate participation in the life of other creatures, humans, and God—is deeply longed for, yet elusive."

[See also:
https://jeffbilbro.com/books/words-for-conviviality/

via:
https://social.ayjay.org/2024/09/16/jeff-bilbros-new.html ]]]></description>
<dc:subject>jeffreybilbro language technology text words conviviality theses multiliteracies christianity friendship turth beauty goodness meaning meaningmaking abstraction community presence conversation mediaecology media digital print multispecies morethanhuman relationships technologies industrialization communication writing reading howweread howwewrite printingpress culture publishing printing</dc:subject>
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</item>
<item rdf:about="https://www.youtube.com/watch?v=-esvZlCJzCQ">
    <title>Por qué se llama América Latina a la región entre el Río Bravo y la Patagonia y qué rol tuvo Francia - YouTube</title>
    <dc:date>2024-08-11T23:22:35+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=-esvZlCJzCQ</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["¿Te has preguntado alguna vez por qué se le llama América Latina?

En este video te explicamos de donde viene el nombre y el papel que jugaron en popularizarlo Napoléon III, el sobrino de Napoleón I y Michel Chevalier, uno de sus principales ideólogos. 
 
● Investigación, guion y presentación: Ana María Roura
● Edición de video, animación y mapas: Gonzalo Cañada
● Editores: Natalia Pianzola, Max Seitz y Ana María Roura"]]></description>
<dc:subject>latinamerica americas language words anamríároura via:javierarbona 2024</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:109816159aae/</dc:identifier>
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</item>
<item rdf:about="https://www.futilitycloset.com/2024/08/08/in-a-word-680/">
    <title>In a Word - Futility Closet</title>
    <dc:date>2024-08-09T03:44:17+00:00</dc:date>
    <link>https://www.futilitycloset.com/2024/08/08/in-a-word-680/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["rarissima
n. extremely rare books, manuscripts, or prints

In The Book Hunter (1863), John Hill Burton identifies five types of “persons who meddle with books”:

- “A bibliognoste, from the Greek, is one knowing in title-pages and colophons, and in editions; the place and year when printed; the presses whence issued; and all the minutiae of a book.”
- “A bibliographe is a describer of books and other literary arrangements.”
- “A bibliomane is an indiscriminate accumulator, who blunders faster than he buys, cock-brained and purse-heavy.”
- “A bibliophile, the lover of books, is the only one in the class who appears to read them for his own pleasure.”
- “A bibliotaphe buries his books, by keeping them under lock, or framing them in glass cases.”

These groups seem to have been proposed by French librarian Jean Joseph Rive. Bibliographer Gabriel Peignot added four more:

- bibliolyte, a destroyer of books
- bibliologue, one who discourses about books
- bibliotacte, a classifier of books
- bibliopée, “‘l’art d’écrire ou de composer des livres,’ or, as the unlearned would say, the function of an author.”]]></description>
<dc:subject>books language words literature 2024 johnhillburton gabrielpeignot jeanjosephrive</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:6f749b845368/</dc:identifier>
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</item>
<item rdf:about="https://en.wikipedia.org/wiki/Costermonger">
    <title>Costermonger - Wikipedia</title>
    <dc:date>2024-06-22T02:27:17+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Costermonger</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["A costermonger, coster, or costard is a street seller of fruit and vegetables in British towns. The term is derived from the words costard (a medieval variety of apple)[1] and monger (seller), and later came to be used to describe hawkers in general.[2] Some historians have pointed out that a hierarchy existed within the costermonger class and that while costermongers sold from a handcart or animal-drawn cart, mere hawkers carried their wares in a basket.[1]

Costermongers met a need for rapid food distribution from the wholesale markets (e.g., in London: Smithfield for meat, Spitalfields for fruit and vegetables or Billingsgate for fish) by providing retail sales at locations that were convenient for the labouring classes. Costermongers used a variety of devices to transport and display produce: a cart might be stationary at a market stall; a mobile (horse-drawn or wheelbarrow) apparatus or a hand-held basket might be used for light-weight goods such as herbs and flowers.

Costermongers experienced a turbulent history, yet survived numerous attempts to eradicate their class from the streets. Programmes designed to curtail their activities occurred during the reigns of Elizabeth I, Charles I and reached a peak during Victorian times. However, the social cohesion within the coster community, along with sympathetic public support, enabled them to resist efforts to eradicate them.

They became known for their melodic sales patter, poems and chants, which they used to attract attention. Both the sound and appearance of costermongers contributed to a distinctive street life that characterised London and other large European cities, including Paris, especially in the 18th and 19th centuries. Their loud sing-song cry or chants used to attract attention became part of the fabric of street life in large cities in Britain and Europe. Costermongers exhibited a distinct identity. Individuals signalled membership of the coster community through a dress code, especially the large neckerchief, known as a kingsman, tied round their necks. Their hostility towards the police was legendary. The distinctive identity and culture of costermongers led to considerable appeal as subject-matter for artists, dramatists, comedians, writers and musicians. Parodies of the costermonger and his way of life were frequent features in Victorian music halls. Costermongers were ubiquitous in mid-Victorian England, but their numbers began to decline in the second half of the 20th century when they began to take up pitches in the regulated markets."]]></description>
<dc:subject>words fruit people professions hawkers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.are.na/editorial/all-the-tenderness-of-attention">
    <title>All the Tenderness of Attention | Are.na Editorial</title>
    <dc:date>2024-05-30T17:23:38+00:00</dc:date>
    <link>https://www.are.na/editorial/all-the-tenderness-of-attention</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["[image: "Quote by Mark Nepo, block via John Oparah. [White text on a black background: to listen is to lean in softly with the willingness to be changed by what we hear."]

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

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

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

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

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

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

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

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

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

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

Another block looks at the word “mind.”

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

Sharon Neema (she/they) is a visual artist & poet based in Nairobi, Kenya. They are endlessly curious about process, embodiment, inner landscapes and community."]]></description>
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    <title>Bildung - Wikipedia</title>
    <dc:date>2024-05-28T06:04:23+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Bildung</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Bildung (German: [ˈbɪldʊŋ] ⓘ, "education", "formation", etc.) refers to the German tradition of self-cultivation (as related to the German for: creation, image, shape), wherein philosophy and education are linked in a manner that refers to a process of both personal and cultural maturation. This maturation is a harmonization of the individual's mind and heart and in a unification of selfhood and identity within the broader society, as evidenced with the literary tradition of Bildungsroman.

In this sense, the process of harmonization of mind, heart, selfhood and identity is achieved through personal transformation, which presents a challenge to the individual's accepted beliefs. In Hegel's writings, the challenge of personal growth often involves an agonizing alienation from one's "natural consciousness" that leads to a reunification and development of the self. Similarly, although social unity requires well-formed institutions, it also requires a diversity of individuals with the freedom (in the positive sense of the term) to develop a wide-variety of talents and abilities and this requires personal agency. However, rather than an end state, both individual and social unification is a process that is driven by unrelenting negations.

In this sense, education involves the shaping of the human being with regard to their own humanity as well as their innate intellectual skills. So, the term refers to a process of becoming that can be related to a process of becoming within existentialism.

The term Bildung also corresponds to the Humboldtian model of higher education from the work of Prussian philosopher and educational administrator Wilhelm von Humboldt (1767–1835)."]]></description>
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<item rdf:about="https://onethingnewsletter.substack.com/p/spains-word-for-cool-tackiness">
    <title>🟧 Cool-tacky - One Thing</title>
    <dc:date>2024-05-16T19:23:28+00:00</dc:date>
    <link>https://onethingnewsletter.substack.com/p/spains-word-for-cool-tackiness</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Kyle Chayka: Italy’s sprezzatura, for stylized messiness; Japan’s iki, for carefree worldliness; China’s suibian, for a slapdash, anything-goes attitude — there are words in some languages that represent a highly specific cultural ideal. These words are both aesthetic and sociological, and I love to collect them so that I can use them for myself. Last week, I was in Madrid for a few days for the launch of the Spanish translation of Filterworld, and I encountered another such term: cutre, slang in Spain that can just mean “stingy” or “cheap” but in an aesthetic context can be a compliment, a style to seek out. I would roughly translate it as “an authentic shittiness.” 

I was hanging out at Rambal, a slightly hipsterified neighborhood restaurant, like the Spanish version of a gastropub, with a group of locals. (It’s in Lavapiés, my favorite neighborhood to stay in in Madrid and not coincidentally quickly gentrifying.) The style of the place was a little cutre, someone said: low-key, unpretentious, old-school, divey. He pointed to the food — pinchos de tortilla, traditional raciones — which was served on plain metal plates, like those you might associate with a cafeteria. The plates were cutre, he said: half authentic-shittiness and half an appropriation thereof. A sign that you didn’t have to take things too seriously, and the service might be lackadaisical, but everything was going to be chill and good. 

Cutre captures something I love about Spain, which might be my favorite place to travel. It is unpretentious and unprecious, descriptions that cannot be applied to nearby France (duh) or Italy (too much gravitas in their dolce far niente).1 The Spanish understand that you might as well stop whatever you’re doing at 3 PM, it’s not that important, and have a vermouth and some olives. Several tiny beers over the course of hours are better than one big one. Low-keyness is its own value; the activity itself is more important than its perfection. Caring too much about the precise quality of where you are is not the point.

One journalist told me about an old Madrid cocktail bar that was very cutre. El Palentino in the Malasaña neighborhood (kind of the Williamsburg to Lavapiés’s Bushwick) had a shabby interior, wood paneling, and mirrored walls, tacky like an American beachfront burger stand. It was so dirty that there were cockroaches. But all the scene-y people hung out there. It was cutre cool. After it shut down, a new owner turned it into a fancy cocktail bar — not so cool any more.

The most cutre place in DC might be The Raven, a dive bar in Mount Pleasant. It is the opposite of fancy; most of the surfaces are laminate and the only drinks on offer are beer (canned or bottled) or straight liquor. But the atmosphere is vintage and perfect. You go there when you don’t want anything more than what it offers. It is only desirable (much less aspirational) if you have a taste for it, but then everyone I like tends to understand the appeal. Sometimes all you need are some friends and a cutre place to hang out; you bring the party, not the restaurant. In fact, those are my favorite going-out moments."]]></description>
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    <title>Episodio 1 - ¿Por qué hablamos así? | Por qué somos así Podcast - YouTube</title>
    <dc:date>2024-05-11T22:06:57+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Cs46PdJdtDY</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["En Colombia tenemos tantos acentos que a veces nos cuesta entendernos.
Esta investigación fue hecha por la fundación Nerds de la Historia y la dirección estuvo a cargo de María Emilia Gouffray.

El guión fue escrito por Sebastián Castaño @sebastiancastano__   y María Paulina Baena. 

Las voces son de Álvaro García Trujillo, Alejandro Burgos, Juan Franco, Mauricio Gaviria, Keyner Torres, Mariete Jaramillo Samper, Juanita Vélez, Lorenzo Caballero y Beatriz de la Pava.

El diseño sonoro es de Dominica Récords. 

Si quieres saber más de este tema te recomendamos esta bibliografía:
-McFarlaine, Anthony. “Cimarrones y palenques en Colombia: Siglo XVIII”. Revista Historia y Espacio. junio de 1991. Cali. No. 14
-Estanislao Zuleta. “Tres culturas, tres familias y otros ensayos”. Nuevo Siglo Editores.
-“Origen de las formas de hablar en Colombia”. Ana María Díaz Collazos. Disponible en: https://bloglenguaencolombia.blogspot.com/2016/11/origen-de-las-formas-de-hablar-en.html

-Instituto Caro y Cuervo. “Glosario. Portal de Lenguas de Colombia: Diversidad y contacto”. Disponible en: https://lenguasdecolombia.caroycuervo.gov.co/glosario/ "]]></description>
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</item>
<item rdf:about="https://www.youtube.com/playlist?list=PL_lsQEz7yLOq07hUI2PPtLZ5N4JQWubcz">
    <title>Otherwords - YouTube</title>
    <dc:date>2024-05-10T20:40:13+00:00</dc:date>
    <link>https://www.youtube.com/playlist?list=PL_lsQEz7yLOq07hUI2PPtLZ5N4JQWubcz</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Sociolinguist Dr. Erica Brozovsky fınds the fascinating, thought-provoking, and funny stories behind the words and sounds we take for granted."

[intro to the series (2021)

"Otherwords: A New Show about Language and Linguistics Coming to Storied!"
https://www.youtube.com/watch?v=oKpgDqcFQzg

"Otherwords is a new PBS web series on Storied that digs deep into this quintessential human trait of language and fınds the fascinating, thought-provoking, and funny stories behind the words and sounds we take for granted. Incorporating the fıelds of biology, history, cultural studies, literature, and more, linguistics has something for everyone and offers a unique perspective into what it means to be human.

Host and writer Erica Brozovsky is a sociolinguist and a lover of language variation. As a native of Massachusetts, but a longtime Texas transplant, “wicked” and “y’all” happily coexist in her idiolect. Erica received her Ph.D. from the University of Texas at Austin where she studied language and identity. She currently teaches courses there on Asian American Literature and Culture and English Language and Its Social Context."]]]></description>
<dc:subject>language ericabrozovsky otherwords 2021 2022 2023 2024 linguistics words pronunciation english identity culture society biology history literature sociolinguistics</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:bbbe04668019/</dc:identifier>
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<item rdf:about="https://en.wikipedia.org/wiki/Oblate">
    <title>Oblate - Wikipedia</title>
    <dc:date>2024-05-09T22:26:58+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Oblate</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In Christianity (especially in the Roman Catholic, Orthodox, Anglican and Methodist traditions), an oblate is a person who is specifically dedicated to God and to God's service.

Oblates are individuals, either laypersons or clergy, normally living in general society, who, while not professed monks or nuns, have individually affiliated themselves with a monastic community of their choice. They make a formal, private promise (annually renewable or for life, depending on the monastery with which they are affiliated) to follow the Rule of the Order in their private lives as closely as their individual circumstances and prior commitments permit. Such oblates are considered an extended part of the monastic community; for example, Benedictine oblates also often include the post-nominal letters 'OblOSB'[1][2] or 'ObSB' after their names on documents. They are comparable to the tertiaries associated with the various mendicant orders.

The term "oblate" is also used in the official name of some religious institutes as an indication of their sense of dedication."

[via (near the end, search transcript): 
https://thecommon.place/p/ep165 ]]]></description>
<dc:subject>words catholicism christianity religion saintbenedict monasticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:f2c9c04a3792/</dc:identifier>
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<item rdf:about="https://www.nplusonemag.com/issue-40/essays/babel-4/">
    <title>Babel | Issue 40 | n+1 | Meghan O’Gieblyn</title>
    <dc:date>2024-03-01T19:10:10+00:00</dc:date>
    <link>https://www.nplusonemag.com/issue-40/essays/babel-4/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Could a machine have an unconscious?"
]]></description>
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<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://www.youtube.com/watch?v=CVbCY51iz1k">
    <title>Words we've ruined. - YouTube</title>
    <dc:date>2024-02-12T01:46:58+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=CVbCY51iz1k</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Let's explore the words that we've destroyed through misuse.

I hope you enjoy this exploration of skunked, bleached and mangled words. In it, we'll discuss the words that have been misused to the point of rendering them useless! And we'll get expert help from Peter Sokolowski from Merriam-Webster dictionaries."]]></description>
<dc:subject>english words language change etymology 2024 comprehension clarity petersokolowski robwords misuse</dc:subject>
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</item>
<item rdf:about="https://millennialsarekillingcapitalism.libsyn.com/decolonization-is-not-a-discourse-it-is-a-material-process-leila-shomali-and-lara-kilani-on-anti-zionism-as-decolonization">
    <title>Millennials Are Killing Capitalism: “Decolonization Is Not a Discourse, It Is a Material Process” - Leila Shomali and Lara Kilani on Anti-Zionism as Decolonization</title>
    <dc:date>2024-02-08T15:53:21+00:00</dc:date>
    <link>https://millennialsarekillingcapitalism.libsyn.com/decolonization-is-not-a-discourse-it-is-a-material-process-leila-shomali-and-lara-kilani-on-anti-zionism-as-decolonization</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["For this week’s episode we interview Leila Shomali and Lara Kilani

Leila Shomali is a Palestinian PhD candidate in International Law at Maynooth University Ireland and a member of the Good Shepherd Collective.

Lara Kilani is a Palestinian-American researcher, PhD student, and is also a member of the Good Shepherd Collective.

We interviewed them on January 12th to talk about their recent piece “Anti-Zionism As Decolonisation” which is published in the brand new debut physical edition of Ebb Magazine. We will also link a web version of the article in the show notes. I will also say quickly that just recently we hosted a conversation with Louis Allday on our YouTube channel that goes over some of the other topics and analyses in that issue of Ebb Magazine. I highly recommend it and I actually bought a couple copies so that I could share it with others. 

In this conversation we talk about both the terms anti-zionism and decolonization which have each faced their own forms of elite capture and distortion. Along the way we talk about settler colonialism, the Oslo Accords, NGO’s, the limits of human rights discourse and international law for Palestinians, the problems of neoliberal identity reductionism, and why as Lara and Leila write, “the caretakers of anti-zionist thought are indigenous communities resisting colonial erasure.”

I very much enjoyed this discussion and encourage people to check out and support the work of the [Good Shepherd Collective](https://goodshepherdcollective.org/) which Leila and Lara are members of, and which they talk about through the conversation as well. We will link their work in the show notes.

Leila and Lara reference a number of articles in their discussion and we will link those in the show notes.

"Anti-Zionism As Decolonisation" (their article the episode is based on)
https://www.ebb-magazine.com/essays/anti-zionism-as-decolonisation

"Jewish Settlers Stole My House. It's Not My Fault They're Jewish" by Mohammed El-Kurd
https://mondoweiss.net/2023/09/jewish-settlers-stole-my-house-its-not-my-fault-theyre-jewish/

When Does a Settler Become a Native? Reflections of the Colonial Roots of Citizenship in Equatorial and South Africa by Mahmoud Madani
https://citizenshiprightsafrica.org/wp-content/uploads/1998/05/mamdani-1998-inaugural-lecture.pdf

Guide for Jewish Anti-Zionist Allyship
https://goodshepherdcollective.org/wp-content/uploads/2023/11/Guide20for20Jewish20Anti-Zionist20Allyship.pdf

Steven Salaita "A Postmortem on Bernie Sanders and Palestine"
https://stevesalaita.com/a-postmortem-on-bernie-sanders-and-palestine/

Defund Racism (includes their report on Regavim)
https://defundracism.org/ "

[also here:
https://www.youtube.com/watch?v=D53mIdVLC9w ]]]></description>
<dc:subject>palestine israel antizionism 2024 larakilani zionism decolonization colonialism charitableindustrialcomplex nonprofits ngos nonprofit funding philanthropicindustrialcomplex philanthropy charity charities goodshepherdcollective osloaccords palestinianauthority humanrights identity erasure settlercolonialism colonization berniesanders stevensalaita indigenous indigeneity leilashomali imperialism capitalism identitypolitics combaheerivercollective liberalism humanitarianism humanitarianlaw solidarity complicity antiimperialism barbarasmith identitarianism identitarians joebiden politics policy elections democrats us neoliberalism antisemitism elitecapture olúfẹ́mitáíwò rhetoric language words meaning jewishvoiceforpeace ifnotnow canon organization organizing activism liberation pragmatism resistance internationallaw framing apartheid land landback onestatesolution twostatesolution millennialsarekillingcapitalism anti-imperialism antiiimperialism makc</dc:subject>
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    <title>vocab lesson - by Sara Hendren - undefended / undefeated</title>
    <dc:date>2023-12-29T07:09:48+00:00</dc:date>
    <link>https://sarahendren.substack.com/p/vocab-lesson</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["How do you describe the design of the stuff all around you, beyond what you like or don’t like, beyond what’s interesting or cool or boring? Next semester I’ll be teaching a class called Writing About the Built World. We’ll examine a mix of academic and journalistic criticism — for architecture, design at all scales, and technology — and we’ll look for analysis of objects and environments in all kinds of unexpected places: podcasts, movies, fiction. We’ll practice finding the most precise language we can for all the stuff that’s around us, the better to both cultivate our own sensibilities and to see the choices designers make as choices — choices that could always be different. I usually offer a word bank to get students going:

[image]

And I often start by looking at several projects that have meals and eating as their subject, orchestrated in very different ways, as a lesson in contrast. For example:

[image]

The Manhattan restaurant Hearth, in the early days after they opened, had a box on every table like this to invite diners to keep smartphones out of their mealtime. How would we talk about this arrangement of choices? It’s a suggestion, not a policy, and the container is open, not closed. The box is embossed tin and printed with a demure floral, like something from the 1920’s—not an armed safe, and not a bag for the coat check. Is this a subtle, nostalgic nudging? Is it an elegant escape hatch from digital life? Or is it paternalistic? Overly precious, even twee? Finding the words for this designed object-and-experience helps you figure out the assumptions behind the choices and the origins of your reaction. Compare Hearth to something else:

[image]

Conflict Kitchen, in Pittsburgh, serves food from regions of the world with which the US is in conflict. So they have programs and lectures and “lunch with an expert” on offer. But notice the design of the actual structure: it’s a trendy modern kiosk, heavy on stylish graphics, and the signage is just their name and the cuisine you can (temporarily) purchase there. So we might say this project leads with approachability — no protest posters or policy recommendations out front, as you see here — and follows with an invitation to more information, more provocation, if you so choose. A design group interested in politics could do otherwise, of course, with some aesthetic and programmatic changes. They could have decided to employ the confrontational, DIY graphic style of the handmade stenciled typeface. They could have printed menus with foreign policy demands on the back. They could have foregrounded the conflict part of the project, but instead they foregrounded the kitchen — the feasting, the conviviality, the enterprise. These are all choices, and it’s worth asking why. Now add another to the mix:

[image]

Eenmaal (pronounced “ayn mahl” in Dutch) means “one meal” — a meal for one. Eenmaal was a temporary project designed as an experiment in solo eating as the only option available, as you see in these single-setting black cubes above. The beauty of the project is its indeterminacy: is it a destigmatized way to go out to dinner unaccompanied? Or is it a foreboding commentary on loneliness and atomization? The stark black-and-white aesthetics mimic the austerity of the minimalist art gallery, and the name “one meal” carries a kind of ominousness. But the press coverage was mixed: maybe it’s the dystopian present, or maybe it’s the reinvented future. The ambiguousness is designed—intended as a question, held aloft and unresolved. Now add one more:

[image]

In Jackson Hole, Wyoming, and other cities in the United States, Vertical Harvest brings agriculture to urban environments by way of hydroponics: vegetable gardens that grow up, rather than out. They assemble an unusual mix for their social mission, seeking out underutilized spaces in cities, using high-tech systems for cultivation, and employing people with physical and developmental disabilities in what they call a “grow well” model of making both food and jobs. Vertical Harvest is a pragmatic approach to urban agriculture, with an optimistic use of fast technology and slow investment in historically under-employed people. There’s a provocation here, but it’s not like Eenmaal’s enigmatic and haunting vibe. Vertical Harvest is a solutionist recombination of old and new.

My students in design pick up the skills for a strong sense of agency. Design is inherently forward-looking — it’s driven by proposals, by what-if questions, by the intentional arrangement of parts, people, and interactions in a hundred possible variations. I want them to have more words for the responses they have to others’ work, but also to recognize just how many choices they have as they make things of their own. One reliable A/B test helps distill the matter in class, and that’s Fiona Raby and Anthony Dunne’s comparison list from Speculative Everything:

[image]

After showing them the projects like the ones I’ve laid out above, I often ask students to choose a disposition from this A/B scenario. Not as a commitment, but as a temperature-taking exercise. Are they A-trained, but B-curious? And so on. Design does lots of things, and the word bank is a way of opening up new vistas when students are stuck.

Thanks for reading. I’ve got a reported piece in the December issue of Harper’s, about a radical and imaginative partnership between professional artists and adults with cognitive disabilities at a day center outside Edinburgh. Intelligence, authorship, eugenic histories, and the beautifully inefficient vitality of making art as an encounter between people.

[image]

I’d love to know what you think. There’s more to say about all that, and I will, soon. Wishing you a beautiful end to 2023 and plenty of new vistas opening up in the new year."]]></description>
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<item rdf:about="https://www.npr.org/2023/11/14/1212661071/andre-3000-album">
    <title>André 3000's first album in 17 years, 'New Blue Sun,' is out now : NPR</title>
    <dc:date>2023-11-17T16:31:56+00:00</dc:date>
    <link>https://www.npr.org/2023/11/14/1212661071/andre-3000-album</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[NB: The transcript on the page is not complete: parts of the audio are not transcribed.

Too much to quote, so just this piece as a taste.]

"You've talked in recent years about having social anxiety disorder and how the need for isolation compounded that even further. Which, first of all, I want to say is so refreshing to me that we, as Black men, especially, are starting to be just more transparent with each other about mental health. But the fact that this album wasn't made in isolation and was a very collaborative process, can you talk more about how that gave you that sense of freedom and helped you get unstuck a little bit?

Yeah, totally. The environment was really important. And we're listening to each other, we're responding to each other, we're supporting each other at certain times. And that's the sound, so it's kind of mirroring real life. That's why I say when I describe it, which is hard to really describe, it's a full living, breathing album because it's fully alive. We didn't sketch it out.

And as far as anxiety and that kind of thing, yes, I have been diagnosed with that. But I realized that, like, life is life, man. Our grandparents didn't have these terms to describe these things, you know? They didn't have these diagnoses to describe these things. They may have been going through similar things, but they just had to live through it. That's what it is. Life is life and life will come at you in different ways, and it's for you to pay attention to what's happening. I don't feel worse or better than anybody else. I feel like what comes to you is for you.

I just use it as an instrument, just like it uses me. I wouldn't be here if it wasn't for these, what they call "ailments" and all this kind of stuff. I don't want to lean on it. And a lot of times, because now we have a name for it, we're starting to lean on these names and kind of like really dig into these names and really just try to just figure yourself out. And I'm not sure if sometimes you may give yourself a disservice once you start calling the boogeyman, the boogeyman. Then you start looking for it. So it's like, just live and take it day by day, man. Everything won't be great. The only thing I can say: Learn how to ride the roller coaster. The best thing you can do is learn how to ride the roller coaster with your hands up."]]]></description>
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<item rdf:about="https://www.nybooks.com/articles/2014/07/10/ghosts-in-sunlight/">
    <title>Ghosts in Sunlight | Hilton Als | The New York Review of Books</title>
    <dc:date>2023-09-03T19:35:00+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[access here:
https://archive.ph/3yIrP ]

"I wonder if you, like me, feel, just now, like a ghost in the sunlight, awash in memories as your life shifts from student to professional, and your professors become your colleagues. I’ll pull rank now—but just for a moment—and say that my ghosts are probably older than yours. I mean almost Madonna old, and her 1980s music is there in my reminiscences along with so much more as I recall that the majority of my ghosts became just that during the AIDS crisis, which I first read about while I was a student at Columbia—in 1981 or so. I met those now gone boys at Columbia some time before I met you. In memory they wear what they wore then: Oxford button-downs, and they smoke and gossip in the sun that always makes the steps of Low Library—the very steps you’ve sat on yourself—look like a sketch in a dream. Tomorrow was faraway then. And then it wasn’t.

I see those gone boys and hear their laughter and love them even more as I watch you all now in your sunlight. For your time at Columbia and your life in this particular section of Manhattan is becoming part of your past very quickly now, all the moments of making your self—your artist self—mixed up these final days and hours before you face other realities, other dangers, other hopes, and other presents that are destined to become the past, too. And undoubtedly you will try to make art out of this beautiful ephemera, the merging of the past with the present, because you’re artists, chroniclers of who you are, and who you might be, and who we all are, together.

In order to achieve that—that is, to push further into being the kind of truth-telling artists I already know you are—I should tell you something about myself, so that we are better friends, and you can accurately transform this moment or the next into one of your stories. Let’s begin with my time at Columbia. I loved studying with great scholars ranging from Elaine Pagels to Kenneth E. Silver—I was an art history major in the General Studies program—but I must confess that I wasn’t much of a student.

It didn’t take Elaine and Ken long to suss out that I wasn’t an academic, I was a writer. I didn’t know how to call myself that; that is, I didn’t know what you now know: that there are professors out there, at the School of the Arts, for instance, who can help nurture your voice. So I just bungled along, finding much to love along the way, including authoritative reading lists that gave me a frame to begin understanding not just emotionally, but philosophically and intellectually as well, how the past leads to the present and beyond. By reading I discovered that art-making was a tradition that was bigger and no bigger than myself.

I did not feel crippled by this knowledge; in fact, I was liberated by it: being an artist meant you were connected to other people—ghosts—who had been as moved by the enterprise of creating as you are now; evidence of their love was all the movies and performances and books and dances and music that informed your present so deeply and indelibly, acts of creation that stirred your imaginings to the point of making you wonder: How do I make the kind of film I want to see, write the kind of story or poem I want to read, perform the music, play, or dance that is expressive of the artist I’m meant to be?

In her lovely memoir, Smile, Please, the Caribbean-born writer Jean Rhys says that she considered her writing to be the tiniest stream, one that trickles into the vast ocean that is world literature. But without those streams there would be no ocean, and if there is no ocean there is no shore, and if there is no shore there is no place for our ghosts to gather in the sunlight, those artistic forebears who wave us back to dry land when a project seems beyond us and we lose our way, which is at least half of the time.

As I’ve said, I was a terrible student. Or put in a different way: I was a miserable student, a dropout at heart who didn’t know how to look for, let alone find, what you found: a conservatory-like atmosphere that affords one the freedom and discipline to do one’s true life work. I didn’t come from a world filled with much worldly information, other than how to survive. I grew up in a family of West Indian women who raised their children in what social workers used to call “socio isolation.” First we lived in East New York, and then in Crown Heights, and then in Flatbush. When I stepped through those gates on Broadway, that was all I knew. I was a student at a time when the school was segregated by gender, and also you could smoke in class.

This was not the world I knew, certainly not at home. In order to acclimate myself, I took a great many classes at Barnard. Still, I didn’t give myself a chance to take advantage of the opportunities Columbia offered up because I didn’t know how to: it takes a long time to make it to the welcome table if you’ve been standing at the sink of making do.

Part of what makes your experience so valuable to me is that you allowed yourself this experience, you are graduating with the license or degree you’ve already conferred on yourself—to be artists, to be thinkers, to be. As the artist Kara Walker noted once vis-à-vis her experience as a woman artist of color, it just takes a lot to give yourself permission to get into the studio, to claim that space.

If anything, your education, the conservatory-like atmosphere the School of the Arts has built over the years, has helped minimize those kinds of complications, no matter what your race or gender, and anyway all artists feel “other.” There’s not an artist on God’s green earth who feels, emotionally speaking, that he or she has been invited to the prom. It’s in our DNA—to stand to the left or outside of life’s fray, in our tennis shoes, in our painter’s smocks, in our director’s caps, in our moth-eaten writer’s sweaters, awash in memory even as it becomes that in the just-now past. Your various educators understand the humility of creation, and something more: how to encourage and coax you into greater accuracy. What does your past look like, what does the present say, and what do your ghosts look like in the sunlight?"

...

"The artist’s memory is a dangerous, necessary thing. Never disavow what you see and remember—it’s your brilliant stock-in-trade: remembering, and making something out of it. Artists remember the world as it is, first, because you have to know what it is you’re reinventing; that’s a rule, perhaps the only one: being cognizant of your source material.

I’ve never believed, not for one second, that art is created out of avoiding the world and its various realities. If you avoid that, you avoid life, which is your source material, you dishonor all your ghosts in the sunlight, including the person you were when I began this speech, the Columbia boys I knew and loved long ago, the politically oppressed poet who changed a face, and you, dancing with my former self before we part, and you walk proudly into your sunlit hope, ghosts and all."]]></description>
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    <title>Colores de una infancia migrante: Francisca Yáñez - YouTube</title>
    <dc:date>2023-06-30T04:54:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=HUT1hVCfcvE</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Llenaremos una maleta con imágenes y experiencias de la ilustradora y artista visual Francisca Yáñez (Santiago de Chile, 1971), adentrándonos en su infancia en exilio en Argentina, Alemania y Costa Rica. ¿Cómo estos años impactaron en su obra? Seguiremos abordando su relación con los viajes, la migración, la ausencia, los libros y cómo éstos han contribuido a sus procesos creativos. También nos adentraremos en las denominadas cosas "incontables" que están presentes en su trabajo ¿Cuáles elegiríamos para salvar el mundo?"]]></description>
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<item rdf:about="https://en.wiktionary.org/wiki/thalassophile">
    <title>thalassophile - Wiktionary</title>
    <dc:date>2023-06-23T22:49:40+00:00</dc:date>
    <link>https://en.wiktionary.org/wiki/thalassophile</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Someone who loves the sea."

[See also:

https://www.macmillandictionary.com/us/dictionary/american/thalassophile

https://www.surfertoday.com/surfing/ten-signs-you-are-a-thalassophile
"A thalassophile is someone who not only appreciates being close to the shoreline but needs to live in coastal areas like air to breathe."

https://www.youtube.com/watch?v=W0hNnnHyvx4 ]]]></description>
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    <title>Linguists have identified a new English dialect that's emerging in South Florida</title>
    <dc:date>2023-06-17T14:47:41+00:00</dc:date>
    <link>https://theconversation.com/linguists-have-identified-a-new-english-dialect-thats-emerging-in-south-florida-205620</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>language english spanish español florida southflorida miami cuba 2023 dialects sociolinguistics linguistics history vocabulary words phillipcarter</dc:subject>
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<item rdf:about="https://www.youtube.com/watch?v=z3zfMUBTDl0">
    <title>Why Language is Always Changing with Valerie Fridland - Factually! - 214 - YouTube</title>
    <dc:date>2023-06-14T15:24:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=z3zfMUBTDl0</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Language changes, and that's not a bad thing! This week, Adam is joined by sociolinguist Valerie Fridland to uncover how language is much more malleable than we're led to believe, and how the resistance against new slang often disguises an attempt to limit the influence of marginalized communities."

[Book here:

Like, Literally, Dude: arguing for the Good in Bad English, by Valerie Fridland
https://www.penguinrandomhouse.com/books/671558/like-literally-dude-by-valerie-fridland/

"ABOUT LIKE, LITERALLY, DUDE
“With easygoing authority… [Fridland] offers context, and a welcoming spirit, to the many contentious realignments in our language.”—The Wall Street Journal

“Smart and funny—I loved it!” —Mignon Fogarty, author of New York Times bestseller Grammar Girl’s Quick and Dirty Tips for Better Writing

A lively linguistic exploration of the speech habits we love to hate—and why our “like”s  and “literally”s actually make us better communicators

Paranoid about the “ums” and “uhs” that pepper your presentations? Concerned that people notice your vocal fry? Bewildered by “hella” or the meteoric rise of “so”?  What if these features of our speech weren’t a sign of cultural and linguistic degeneration, but rather, some of the most dynamic and revolutionary tools at our disposal?

In Like, Literally, Dude, linguist Valerie Fridland shows how we can re-imagine these forms as exciting new linguistic frontiers rather than our culture’s impending demise. With delightful irreverence and expertise built over two decades of research, Fridland weaves together history, psychology, science, and laugh-out-loud anecdotes to explain why we speak the way we do today, and how that impacts what our kids may be saying tomorrow. She teaches us that language is both function and fashion, and that though we often blame the young, the female, and the uneducated for its downfall, we should actually thank them for their linguistic ingenuity.

By exploring the dark corners every English teacher has taught us to avoid, Like, Literally, Dude redeems our most pilloried linguistic quirks, arguing that they are fundamental to our social, professional, and romantic success—perhaps even more so than our clothing or our resumes. It explains how filled pauses benefit both speakers and listeners; how the use of “dude” can help people bond across social divides; why we’re always trying to make our intensifiers ever more intense; as well as many other language tics, habits, and developments.

Language change is natural, built into the language system itself, and we wouldn’t be who we are without it. Like, Literally, Dude celebrates the dynamic, ongoing, and empowering evolution of language, and it will speak to anyone who talks, or listens, inspiring them to communicate dynamically and effectively in their daily lives."]]]></description>
<dc:subject>valeriefridland adamconover 2023 language english rules linguistics sociolinguistics influence gatekeeping evolution change howwespeak marginalization race racism society icelandic german malleability class standards standardization prescriptivism power access howwewrite writing communication tradition moralism morality judgement grammar vocabulary pronunciation wordchoice history noamchomsky wordorder structure brain humans functionalism rhetoric conversation dialog discourse slang creativity location innovation experimentation words ethnicity subcultures dragculture nonconformity speech toughness rebellion aave vernacular solidarity companionship familiarity informal community informality easy comfort counterculture edginess outsiders appropriation vikings norse</dc:subject>
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<item rdf:about="https://en.wiktionary.org/wiki/gadgetbahn">
    <title>gadgetbahn - Wiktionary</title>
    <dc:date>2023-01-10T15:31:05+00:00</dc:date>
    <link>https://en.wiktionary.org/wiki/gadgetbahn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[via use here
https://www.youtube.com/watch?v=iNr59pNkCHI ]]]></description>
<dc:subject>words transit gadgetbahn</dc:subject>
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    <title>Merodeo, merodear, merodeando - merodeo</title>
    <dc:date>2022-09-19T01:25:31+00:00</dc:date>
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<item rdf:about="https://es.wikipedia.org/wiki/Cronopio">
    <title>Cronopio - Wikipedia, la enciclopedia libre</title>
    <dc:date>2022-09-10T17:50:55+00:00</dc:date>
    <link>https://es.wikipedia.org/wiki/Cronopio</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Los cronopios son personajes de una serie de cuentos del libro Historias de Cronopios y de Famas (1963) del escritor argentino Julio Cortázar. "Un cronopio es un dibujo fuera del margen, un poema sin rimas", en palabras de autor. Junto con los famas y las esperanzas, integran el universo de este libro.

Descripción
Cortázar utilizó por primera vez la palabra cronopio en un artículo publicado en Buenos Aires Literaria en 1952, comentando un concierto dado por Igor Stravinsky en noviembre de ese año en el Théâtre des Champs-Élysées de París. El artículo se titulaba Louis, enormísimo cronopio. Cortázar explicó después en varias entrevistas cómo el nombre cronopio se le había ocurrido por primera vez poco antes en el mismo teatro, como resultado de una visión fantástica de pequeños globos verdes flotando alrededor en el semivacío teatro.1​ Dejó en claro también que la palabra "cronopio" no tiene relación con el concepto del tiempo (prefijo: crono-), sino que meramente la concibió en el acto.

En sus relatos, Cortázar evita dar una descripción física precisa de los cronopios. Solo se refiere tangencialmente a ellos como "objetos verdes y húmedos". 2​ Los relatos proporcionan claves acerca de la personalidad, los hábitos y las inclinaciones artísticas de los cronopios. En general, los cronopios se presentan como criaturas ingenuas, idealistas, desordenadas, sensibles y poco convencionales, en claro contraste con los famas, que son rígidos, organizados y sentenciosos; y las esperanzas: simples, indolentes, «bobas», ignorantes y aburridas.

Sobre la apariencia de los cronopios, Cristina Peri Rossi, gran amiga del escritor, relata que alguna vez Julio recibió, de parte de un grupo de exiliados chilenos, un muñeco hecho a mano, con cabeza de rana, cuerpo de perro y de color verde. Tras recibir el regalo, Cortázar hizo una observación acerca del color, a él nunca se le habría ocurrido que los cronopios eran verdes[cita requerida].

La mayor parte de las referencias a cronopios en la obra de Cortázar se encuentra en las 20 historias que forman la última sección de su libro Historias de Cronopios y de Famas. Algunos críticos literarios han buscado en este libro significados metafísicos ocultos, o una taxonomía universal de los seres humanos. El propio autor se refirió a estos relatos como una especie de juego y aseguró que le había producido un gran placer escribirlos.

El término "cronopio" terminó por convertirse en una especie de tratamiento honorífico, aplicado por Cortázar (y otros) a amigos, como en la dedicatoria de la traducción inglesa de 62: Modelo para armar, donde se dice: "Esta novela y su traducción están dedicadas al cronopio Paul Blackburn..."

Impacto
Cortázar fue llamado en ocasiones Grandísimo Cronopio Mayor por sus admiradores y la denominación inspiró a muchos autores y artistas que bautizaron así a sus grupos musicales o teatrales. Las alusiones a los cronopios son múltiples, en obras artísticas plásticas, así como en álbumes, canciones, coreografías, obras dramáticas y poemas dedicados o inspirados en los cronopios. Cabe mencionar especialmente la denominación de un extinto género de mamíferos, encontrado en el sitio fosilífero de La Buitrera, descrito en 2011 por Rougier, Apesteguía y Gaetano y cuya especie tipo es el Cronopio dentiacutus.3"

[See also:
https://en.wikipedia.org/wiki/Cronopio_(literature)

"A cronopio is a type of fictional person appearing in works by Argentine writer Julio Cortázar (August 26, 1914–February 12, 1984).

Together with famas (literally fames) and esperanzas (hopes), cronopios are the subject of several short stories in his 1962 book Historias de cronopios y de famas and Cortazar continued to write about cronopios, famas, and esperanzas in other texts through the 1960s.

Characteristic
In general, cronopios are depicted as naive and idealistic, disorganized, unconventional and sensitive creatures, who stand in contrast or opposition to famas (who are rigid, organized and judgmental if well-intentioned) and esperanzas (who are plain, indolent, unimaginative and dull).

In his stories Cortázar describes few physical features of cronopios. He does refer to them (in one of the early stories Costumbres de los famas) as "those greenish, frizzly, wet objects," but this description is just the initial author's vision of the invented character. In a letter to Paul Blackburn on 1959-03-27 [1] Cortázar writes that human characteristics of cronopios appeared later, while writing other stories. These demonstrate aspects of cronopios' personalities, habits, and inclinations.

Uses of the term
Cortázar first used the word cronopio in a 1952 article published in Buenos Aires Literaria reviewing a Louis Armstrong concert given in November of that year in the Théâtre des Champs-Élysées in Paris. The article was entitled Louis, Enormísimo Cronopio ("Louis, Enormous Cronopio"). Cortázar would later describe in various interviews how the word cronopio first came to him in that same theater some time before this concert in the form of an imaginary vision of small green globes floating around the semi-deserted theater.

References to cronopios in Cortázar's work occur in 20 short sketches that make up the last section of Historias de Cronopios y de Famas as well as in his "collage books," La vuelta al día en ochenta mundos and Ultimo Round, which were collected in a French edition he considered definitive. Some literary critics consider Cortazar's cronopios stories as lesser works compared to other of the author's novels and short stories. Others have looked for hidden metaphysical meanings in these stories or for a universal taxonomy of human beings. Cortázar himself described these stories as a sort of "game" and asserted that writing them gave him great joy.

The term cronopio eventually became a kind of honorific, applied by Cortázar (and others) to friends, as in the dedication to the English-language edition of 62: A Model Kit: "This novel and this translation are dedicated to Cronopio Paul Blackburn ..." (Blackburn translated several of Cortazar's early stories under the title The End of the Game.)

A fossil dryolestoid mammal found in Argentina has been named Cronopio dentiacutus.[2]"]]]></description>
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<item rdf:about="https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f">
    <title>O Caminho do Sertão: pelas veredas de Guimarães Rosa | by Roteiros Literarios | roteirosliterarios | Medium</title>
    <dc:date>2022-09-09T18:35:08+00:00</dc:date>
    <link>https://medium.com/roteirosliterarios/o-caminho-do-sert%C3%A3o-pelas-veredas-de-guimar%C3%A3es-rosa-3b85646a1d8f</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Nonada. É a primeira palavra que aparece em Grande Sertão: Veredas, de Guimarães Rosa e, ao longo das mais de seiscentas páginas, soma mais seis ocorrências. Antes de fechar o livro ela aparece de novo, na penúltima linha da última página.

[image]

Nonada é “coisa sem importância, um quase nada” e sai da boca de um jagunço e vai ganhando significado enigmático, assim como muitas outras palavras do livro: se mostra hora coloquial e quase banal, hora estranha e enigmática.

Esta tensão entre o corriqueiro, o popular, o cotidiano por um lado e o estranho, o enigmático, o hermético, por outro lado, é também uma característica do romance todo.

Além disso, Nonada é também o antônimo ao último sinal gráfico do livro, que é o símbolo do infinito. Assim, o movimento da trama e das ideias de certa maneira vai do quase nada ao infinito.

[image]

Ler Guimarães é sempre uma viagem muito grande. Grande Sertão: Veredas pega o leitor pela mão e o convida, literalmente, para um roteiro literário pelo interior das Minas Gerais, uma caminhada. O projeto O Caminho do Sertão [https://pt-br.facebook.com/caminhodosertao ] aproveitou esse universo roseano e concretizou essa travessia.

[image]

O Caminho do Sertão é um grupo que percorre anualmente a pé parte do caminho realizado por Riobaldo, personagem central do livro Grande Sertão: Veredas.

Oferece uma imersão no universo de Guimarães Rosa, na literatura, na geografia, nos saberes e fazeres dos habitantes dos vales dos rios Urucuia e Carinhanha, no noroeste e norte de Minas Gerais.

Na edição de 2016 que aconteceu em julho, a jornada bateu os 160km, pelos vales dos rios Urucuia e Carinhanha, percorrida a pé durante 7 dias. Saiu de Sagarana (distrito pertencente a Arinos/MG) e foi ao Parque Nacional Grande Sertão Veredas (Chapada Gaúcha/MG).

É uma jornada literária “de Sagarana ao Grande Sertão: Veredas” que leva os caminhantes desde sua primeira obra em prosa até a mais importante das obras de Rosa.

[image]

O esquema é simples: caminhada durante o dia, pouso à noite em pontos pré-selecionados, todo mundo em barraca. “Os pousos selecionados permeiam as rotas, nos mantendo em distâncias que medem entre 20 e 40 quilômetros uns dos outros”, contaram os organizadores.

“Nesses pousos, geralmente pequenas vilas, e/ou fazendinhas, organizamos uma dinâmica de camping, onde posterior à caminhada do dia cada caminhante monta sua barraca e a desmonta na manhã do dia seguinte (por volta de 4h). Nestes pousos há uma estrutura organizada de alimentação, banhos e interações variadas. Ah! Os caminhantes não levam suas mochilas e barracas nas costas, há transportes específicos para elas, que seguem diretamente para os pousos”.

https://vimeo.com/129214018

"Paulo Silva Jr. participou da caminhada em 2015 e conversei com ele para investigar um pouco mais sobre a relação da obra durante a andança, queria saber como Guimarães aparecia por lá.

“O itinerário é mais simbólico”, ele contou. “E a partir daí, Guimarães Rosa vai surgindo nessas imagens — o buriti, a vereda, o Vão Dos Buracos. Vai surgindo também com a contação de história, em rodas de conversa, com ouvir aquelas pessoas falando. Também nas referências todas, os idealizadores do projeto são seguidores do Rosa, a literatura está ali na formação daquelas iniciativas locais. E, claro, na coisa pessoal dos caminhantes, muita gente lendo os livros, falando sobre a experiência da leitura, compartilhando interpretações (afinal é o dia todo andando e trocando ideia)”.

Também fiquei curiosa sobre o perfil de quem faz a caminhada. Ele conta: “Fiz grandes amigos lá, gente que está junta até agora em andanças e ideias por aí, e dos mais variados perfis.

<blockquote>Eu diria que o nome do Rosa está no centro de tudo, ao menos que de forma simbólica, então sinto que as pessoas (as que não conhecem a região, claro, que é a esmagadora maioria) vão com esse imaginário do Rosa. Então, a partir dessa imagem da literatura vai saindo um leque de assuntos que se cruzam ou circulam essa ideia central: as questões ambientais (preservação ambiental, direito à terra, direito à água, retorno ao campo, agricultura familiar, orgânicos, pancs), artísticas (literatura, cinema, fotografia, teatro, enfim, gente procurando reverberações desse sertão do Rosa) e em algum ponto espirituais (não tenho uma palavra melhor, mas diante de toda a vertigem causada pela obra e pelo imaginário de sertão tem uma onda, uma magia, um mistério no ambiente, né)”.</blockquote>

“Em comum, são todas pessoas que em algum momento se encontram numa certa falta de lugar no mundo, questionando educação formal, mercado de trabalho e seus derivados, afinal é gente a fim de tirar 10 dias da vida para andar pelo sertão, já tem um recorte de intenção aí, então acho que a proposta junta uma galera que tem essa abertura do encontro espontâneo”.

[image]

Ele continua: “Eu diria que, como fala o projeto, é um encontro sócioecoliterário. Tem a literatura — muito, não dá para não ter -, mas não é um encontro literário”.

<blockquote>Como me ensina um amigo de Caminho do Sertão, o Gabão, eu acho que é a literatura enquanto mediação. No limite, essas pessoas não se reuniriam para andar até um buriti ou uma vereda no noroeste de Minas. Então a literatura taí, a arte nos movimentos, mediando essa nossa conversa, por exemplo”.</blockquote>

“Agora, existe todo um cenário político local de militância social e cultural que acabam também sendo apresentados. A folia de reis, por exemplo, é uma grande influência e eixo do debate — o caminho poderia ser visto como festa popular, também. Não é uma roda de conversa nem um grupo de leitura ou vivência do Rosa, é também esse encontro com esse lugar que é o sertão mineiro”.

[image]

Eu, que sou grande fã do livro e do Rosa, não poderia terminar a conversa sem a pergunta do milhão pro Paulo, né. E aí, essa tal de Nonada, como fica nisso tudo? Passou a ter outro significado depois dessa travessia?

“Não sou especialista, nem grande leitor do Rosa, muito menos estudo o assunto para valer, mas diria que o que faz da literatura dele uma coisa única são exatamente essas tensões em que ele consegue ser ao mesmo tempo simples e enigmático. É o nonada e o infinito. O grande livro brasileiro e um dos que mais carregam o peso do ‘difícil’ é definido por seu autor como um ‘monólogo dum jagunço’. Aí que está, o nível de complexidade da narrativa refletindo na simplicidade de você ouvir um homem do campo contando uma história.

“Então acho que sim, a caminhada me ajudou a pensar em outras coisas a respeito dessa desimportância. E o grande efeito de estar lá vale, primeiro, por ser um escritor onde o espaço é muito importante, as pessoas estudam a terra do Rosa, ele forjou um lugar e há uma série de pequenos lugares em Minas Gerais com suas narrativas de pertencimento sobre o tema (lembrei de um debate entre o José Miguel Wisnik e Dieter Heidemann porque disseram que tanto Rosa quanto Drummond revelaram que o primeiro estalo literário que tiveram foi numa aula de geografia, e o Rosa, um tarado por mapas e referências especiais, vai lá e faz esse livro labiríntico); segundo, é conhecer esse lugar que não só foi forjado pelo Rosa como também vive sob mediação do Rosa sem necessariamente ter lido a obra! Essa é uma pira, porque é uma região em que o Rosa está vivo, dando nome para a estrada, para o encontro dos povos, reunindo caminhantes, enfim, ele é um agente social e cultural do lugar; mas claro que não é um livro fácil para todo mundo sair lendo”.

[image]

No meio dessas ideias todas, também vale pensar na função intrínseca de um roteiro literário como esses.

Acho que a grande experiência é sacar a literatura como mediadora e, mais, agente de um lugar. É criar relações que se dão em torno disso. Se na vida criamos vínculos majoritariamente por influência geográfica, familiar, de trabalho ou de ambiente escolar, aqui o vínculo entre os caminhantes vai se dar pela literatura. Acho que isso é a coisa mais impressionante que me rendeu vivenciar literatura na pele, exatamente o fato de poder ver o mundo e estabelecer relações a partir daí. E, por fim, ter mesmo que de forma efêmera e talvez micro a literatura enquanto protagonista, a arte como fim de estar vivo, definitivamente”.

QUEM FAZ O CAMINHO
O Caminho do Sertão é realizado pela Agência de Desenvolvimento Integrado e Sustentável do Vale do Rio Urucuia com apoio da Secretaria de Estado de Cultura de Minas Gerais, em parceria com o Instituto Cultural e Ambiental Rosa e Sertão, o Centro de Referência em Tecnologias Sociais do Sertão (Cresertão), a Cooperativa de Agricultura Familiar Sustentável com base na Economia Solidária (Copabase), a Central Veredas e a equipe ECOS do Caminho do Sertão.

A organização da caminhada contou que o projeto nasceu ao longo do ano de 2013 (a primeira turma saiu em 2014) e a ideia foi anunciada oficialmente dentro da programação do Festival Sagarana, um festival de arte e cultura sertanejas produzido na Vila de Sagarana — Arinos/MG). Sua organização foi pensada e gerida por entidades que trabalham o desenvolvimento social e a agricultura familiar na região noroeste do Estado.

COMO FUNCIONA
Todo ano, o Caminho divulga o edital no site [https://pt-br.facebook.com/caminhodosertao ], uns dois meses antes da data de saída. Em 2016, foram aprovados 70 caminhantes. Além de preencher a ficha de inscrição, os candidatos precisam enviar uma justificativa, contando porque querem fazer a caminhada e qual seu envolvimento com aquilo.

Durante a organização da terceira edição d’Caminho cerca de 10 pessoas se envolveram na coordenação, mas a produção geral, juntamente com parceiros de diversas regiões do país, e claro da região, somaram mais de 30 pessoas responsáveis pela execução do projeto.

Muitos destes parceiros se envolvem no mundo literário como curiosos, outros amantes, e boa parte de pessoas que de fato, vivem à dinâmica do sertão, literatura vívida. Na coordenação geral, efetivamente todos mantém uma aproximação com a literatura roseana.

PARA LER
· Grande Sertão: Veredas, de João Guimarães Rosa (Editora Nova Fronteira)
· Sagarana, de João Guimarães Rosa (Editora Nova Fronteira)"]]></description>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA[[Also here:
https://thebestamericanpoetry.typepad.com/the_best_american_poetry/2008/09/the-beautiful-a.html ]

"The beautiful American word, Sure,
As I have come into a room, and touch
The lamp's button, and the light blooms with such
Certainty where the darkness loomed before,

As I care for what I do not know, and care
Knowing for little she might not have been,
And for how little she would be unseen,
The intercourse of lives miraculous and dear.

Where the light is, and each thing clear,
separate from all others, standing in its place,
I drink the time and touch whatever's near,

And hope for day when the whole world has that face:
For what assures her present every year?
In dark accidents the mind's sufficient grace.

Delmore Schwartz"]]></description>
<dc:subject>delmoreschwartz words sure poetry language us english poems classideas</dc:subject>
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</item>
<item rdf:about="https://twitter.com/rogre/status/1359999204119048193">
    <title>Roberto Greco on Twitter: &quot;Adding “Schlurf” to bio</title>
    <dc:date>2022-04-05T05:53:37+00:00</dc:date>
    <link>https://twitter.com/rogre/status/1359999204119048193</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Adding “Schlurf” to bio

“The word “Schlurf” was used as an insult for several years after the end of the war against young workers who refused work discipline and authority, a sign that this kind of behaviour was as unacceptable to the new “Free World” as it was to the Nazis.”
+

https://twitter.com/wrkclasshistory/status/1359907260806365185
<blockquote>@ztsamudzi No worries, we are fans of them and similar social movements at the same time in various places, like the Pachuces in the US. We talk about the Schlurfs in that podcast episode, there is a written intro here: https://libcom.org/history/schlurfs-%E2%80%93-youth-against-nazism </blockquote>

Adding “asocial” and “work-shy” to bio +

https://twitter.com/ztsamudzi/status/1359892853334421505
<blockquote>Here’s a link to my Google drive. 
Paper’s called “Marginal justice: The persecution of so-called ‘asocials’ and the politics of historic justice in the Federal Republic of Germany” (2018) by Kathrin Braun

https://drive.google.com/file/d/106k5icNC1TzcM0VQMcQEpxcR2W-oN2p_/view?usp=sharing </blockquote>

adding “slacker” to bio +

https://twitter.com/wrkclasshistory/status/1359901186929926145
<blockquote>@atsamudzi This same thing happened in Austria. Members of working class anti-Nazi youth movements like the Edelweiss Pirates in Germany and the Schlurfs in Austria both got caught up in this, and "Schlurf" continued to be used as a slur for "slacker" after WWII. https://workingclasshistory.com/2018/04/04/wch4-anti-nazi-youth-movements-in-world-war-ii/ </blockquote>

probably also for bio (imagining similar roots for these words):

ne'er-do-well
layabout
vagabond
bum
vagrant
nogoodnik
tramp
loafer
wastrel
idler
goldbrick
shirker

also for bio: dilettante

https://twitter.com/snackowska/status/1452072505708060674
<blockquote>having discovered the word "dilettante" comes from the italian word for "delight" i have decided i would much rather be a dilettante. etymonline tells me that the pejorative sense of the word only "emerged late 18c. by contrast with /professional/"

and amateur

https://twitter.com/Swainzug/status/1452073006017261577
<blockquote>also: amateur "late 18th century: from French, from Italian amatore, from Latin amator ‘lover’, from amare ‘to love’.""]]></description>
<dc:subject>schlurf slackers workshy asocials pachuces idleness shirkers vagabonds loafers layabouts ne'er-do-wells bums vagrants nogoodniks tramps wastrels idlers goldbricks schlurfs work-shy words language labor work workavoidance resistance rebellion tangping slow small idling authority history behavior insults german germany italian italia italy austria dilettantes delight amateurs amateurism life living dilettante</dc:subject>
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</item>
<item rdf:about="https://en.wikipedia.org/wiki/Tang_ping">
    <title>Tang ping - Wikipedia</title>
    <dc:date>2022-04-05T05:48:49+00:00</dc:date>
    <link>https://en.wikipedia.org/wiki/Tang_ping</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Tang ping (Chinese: 躺平; pinyin: tǎng píng; lit. 'lying flat') is a lifestyle and social protest movement in China beginning in April 2021. It is a rejection of societal pressures to overwork, such as in the 996 working hour system, which is often regarded as a rat race with ever diminishing returns.[1][2][3][4] Those who participate in tang ping instead choose to "lie down flat and get over the beatings" via a low-desire, more indifferent attitude towards life.

Novelist Liao Zenghu described "lying flat" as a resistance movement,[5] and The New York Times called it part of a nascent Chinese counterculture.[6] It has also been compared to the Great Resignation, a surge of resignations that began in the United States and much of the Western world at roughly the same time.[7][8][9] The National Language Resources Monitoring and Research Center, an institution affiliated to Education Ministry of China, listed the word as one of the 10 most popular memes for 2021 in Chinese Internet. Chinese search engine Sogou also listed the word at the top of its list of most trending memes for 2021.[10]

Unlike the hikikomori in Japan who are socially withdrawn, these young Chinese people who subscribe to "lying flat" are not socially isolated, but merely choose to lower their professional and economic ambitions and simplify their goals, still being fiscally productive for their own essential needs, and prioritize psychological health over economic materialism.[11]"]]></description>
<dc:subject>tangping china lyingflat materialism slow small psychology mentalhealth work labor capitalism latecapitalism counterculture resistance ratrace life living schlurf slackers workshy asocials pachuces idleness shirkers vagabonds loafers layabouts ne'er-do-wells bums vagrants nogoodniks tramps wastrels idlers goldbricks schlurfs work-shy words language workavoidance rebellion authority latestagecapitalism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:9bfb86e0f469/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:asocials"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:pachuces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:idleness"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:ne'er-do-wells"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bums"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:wastrels"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:goldbricks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schlurfs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:work-shy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:words"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:latestagecapitalism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2021/07/03/world/asia/china-slackers-tangping.html">
    <title>These Chinese Millennials Are ‘Chilling,’ and Beijing Isn’t Happy - The New York Times</title>
    <dc:date>2022-04-05T05:48:36+00:00</dc:date>
    <link>https://www.nytimes.com/2021/07/03/world/asia/china-slackers-tangping.html</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Young people in China have set off a nascent counterculture movement that involves lying down and doing as little as possible."]]></description>
<dc:subject>2021 tangping china work class inequality lyingflat resistance workresistance slow small ratrace life living mentalhealth psychology wellbeing caapitalism latecapitalism counterculture materialism labor capitalism schlurf slackers workshy asocials pachuces idleness shirkers vagabonds loafers layabouts ne'er-do-wells bums vagrants nogoodniks tramps wastrels idlers goldbricks schlurfs work-shy words language workavoidance rebellion authority well-being latestagecapitalism</dc:subject>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:schlurf"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:slackers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:workshy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:asocials"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:idleness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:shirkers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:bums"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vagrants"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:idlers"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:work-shy"/>
	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:words"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:latestagecapitalism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theverge.com/2022/3/4/22960011/farewell-from-dieter-bohn">
    <title>A heartfelt farewell from Dieter Bohn - The Verge</title>
    <dc:date>2022-03-04T20:46:32+00:00</dc:date>
    <link>https://www.theverge.com/2022/3/4/22960011/farewell-from-dieter-bohn</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[direct link to video:
https://www.youtube.com/watch?v=RznEIlnzLxQ ]]]></description>
<dc:subject>dieterbohn computers computing howwewrite language writing online web identity words 2022 semiotics shipoftheseus objects philosophy meaning abstraction communication socialmedia handles usernames names naming meaningmaking theseus</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:e1c857a93052/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:theseus"/>
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</item>
<item rdf:about="https://www.hodinkee.com/articles/does-a-hard-to-say-name-affect-watch-sales">
    <title>HODINKEE asks, are hard to pronounce brand names tough on sales?</title>
    <dc:date>2022-03-03T01:41:59+00:00</dc:date>
    <link>https://www.hodinkee.com/articles/does-a-hard-to-say-name-affect-watch-sales</link>
    <dc:creator>robertogreco</dc:creator><dc:subject>watches names naming words language perception jackforster 2022 timex rolex jaeger-lecoultre casio citizen seiko iwc vacheron-constantin</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:90b32279477d/</dc:identifier>
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</item>
<item rdf:about="https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation">
    <title>Understanding McLuhan: A Conversation with Andrew McLuhan</title>
    <dc:date>2022-01-07T20:46:39+00:00</dc:date>
    <link>https://theconvivialsociety.substack.com/p/understanding-mcluhan-a-conversation</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["Welcome to a special installment of the Convivial Society featuring my conversation with Andrew McLuhan. I can’t recall how or when I first encountered the work of Marshall McLuhan, I think it might’ve been through the writing of one of his most notable students, Neil Postman. I do know, however, that McLuhan, and others like Postman and Walter Ong who built on his work, became a cornerstone of my own thinking about media and technology. So it was a great pleasure to speak with his grandson Andrew, who is now stewarding and expanding the work of his grandfather and his father, Eric McLuhan, through the McLuhan Institute, of which he is the founder and director.

I learned a lot about McLuhan through this conversation and I think you’ll find it worth your time. A variety of resources and sites were mentioned throughout the conversation, and I’ve tried to provide links to all of those below. Above all, make sure you check out the McLuhan Institute and consider supporting Andrew’s work through his Patreon page."]]></description>
<dc:subject>lmsacasas 2022 ericmcluhan andrewmcluhan walterong neilpostman howweread howwethink howwewrite media medialiteracy mediastudies screentime children parenting literacy education academia scholarship highered highereducation language deschooling unschooling technology communication religion belief translation humans humanism theory senses allthesenses perception shannonweaver libraries archives catholicism bible dialog discovery conversation rhetoric tools internet web online collaboration footnotes annotation posttheory madiaecology jamesjoyce intertextual intertextuality references enddnotes marginalia normanmailer punk punkrock identity curiosity legacy companionship writing relationsips reading edwincarpenter buckminsterfuller whauden stephaniemcluhan davidstaines poetry form wterrencegordon douglascoupland grayareafoundation synthesis assignments pedagogy marshallmcluhan specialists generalists haroldinni thomasaquinas bodylanguage inevitability techdeterminism techvoluntarism francisbacon responsibility j</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:0619679f2507/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:j"/>
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</item>
<item rdf:about="https://futuress.org/magazine/a-rejection-of-the-term-vernacular/">
    <title>A Rejection of the Term “Vernacular”</title>
    <dc:date>2021-12-18T21:47:16+00:00</dc:date>
    <link>https://futuress.org/magazine/a-rejection-of-the-term-vernacular/</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["In the continual process of decolonizing my design practice and my own mind, I reject the term “vernacular.” I must always question what design canons I continue to operate under, even when I believe I am centering decolonial theory. For a time, I found empowerment in using the term. It provided me with the necessary vocabulary to function within Euro-American colonial education and cultural institutions to validate my own practice before it was discounted. Yet in unpacking its etymology, it helped me understand how I continue to use the language of my colonizer to describe postcolonial and decolonial design. It further provoked me to be critical of the words that I use to describe not only my own practice, but also that of other cultures and peoples. The categorization and quantification of “vernacular” v.s. “professional graphic design” is reductive, and only undermines the deep cultural history of the many design languages exhibited and existing in postcolonial nations. The widespread and misguided use of the term further perpetuates the colonizing notion that other graphic design languages must be categorized to enforce and assert the power of the Eurocentric Canon.

As I continue to realize my dreams for a decolonial future, I explicitly reject the term and actively recognize that—from the immigrant restaurant signage in the United States, to the large scale billboards and fleets of jeepneys in Metro Manila—all forms of visual design languages should be considered “graphic design.”"]]></description>
<dc:subject>2021 design vernacular javiersyquia decolonization immigration philippines art formal informal unschooling language words capitalism postcolonialism colonialism colonization vernaculardesign standardization legitimacy graphicdesign typography graphics lettering fonts futuress</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:648c11b1692a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:2021"/>
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	<rdf:li rdf:resource="https://pinboard.in/u:robertogreco/t:vernacular"/>
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</item>
<item rdf:about="https://www.tandfonline.com/doi/full/10.1080/01596306.2020.1767350">
    <title>Full article: Reconceptualising early language development: matter, sensation and the more-than-human</title>
    <dc:date>2021-12-11T06:08:42+00:00</dc:date>
    <link>https://www.tandfonline.com/doi/full/10.1080/01596306.2020.1767350</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA["This article critically interrogates the model of language that underpins early years policy and pedagogy. Our arguments emerge from an ethnographic study involving 2-year-olds attending a day care centre that had begun to hold a substantial proportion of its sessions outdoors. The resultant shift in pedagogy coincided with changes in the children’s speaking and listening practices. We take these changes as a starting point for a reconceptualisation of early language and the conditions under which it develops. Drawing on posthuman and Deleuzian theory, we propose a relational- material model of early language, which situates language within a wider, multi-sensory and more-than-human milieu, in which children are immersed from their earliest days. We end by asking whether early language development might be better supported by paying less attention to words, grammar and meaning, in favour of fostering participation in dynamic, multisensory, collective events."]]></description>
<dc:subject>abigailhackett 2021 children pedagogy learning reading multisensory meaning words collective education social teaching howwelearn literacy development languagedevelopment posthumanism unschooling deschooling morethanhuman multispecies</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:robertogreco/b:1697bc9c6bab/</dc:identifier>
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<item rdf:about="https://twitter.com/carometonym/status/1452072505708060674">
    <title>Snackowski on Twitter: &quot;having discovered the word &quot;dilettante&quot; comes from the italian word for &quot;delight&quot; i have decided i would much rather be a dilettante. etymonline tells me that the pejorative sense of the word only &quot;emerged late 18c. by contrast wit</title>
    <dc:date>2021-10-25T03:06:14+00:00</dc:date>
    <link>https://twitter.com/carometonym/status/1452072505708060674</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[“having discovered the word “dilettante” comes from the italian word for “delight” i have decided i would much rather be a dilettante. etymonline tells me that the pejorative sense of the word only “emerged late 18c. by contrast with /professional/”””

[reply:
https://twitter.com/Swainzug/status/1452073006017261577

“also: amateur "late 18th century: from French, from Italian amatore, from Latin amator ‘lover’, from amare ‘to love’."”

and response
https://twitter.com/carometonym/status/1452073372452638720

"cool! it's interesting how love of/delight in the arts (emotional responses) are placed in a category of their own in differentiation from the professional/expert"]]]></description>
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</item>
<item rdf:about="https://www.are.na/block/2128073">
    <title>Ritual v. Routine — Are.na</title>
    <dc:date>2021-09-05T16:21:18+00:00</dc:date>
    <link>https://www.are.na/block/2128073</link>
    <dc:creator>robertogreco</dc:creator><description><![CDATA[[image]]]></description>
<dc:subject>rtiual rituals routine routines habits habit words definitions meaning meaningmaking awareness ceremony repetition</dc:subject>
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<item rdf:about="https://www.reddit.com/r/Korean/comments/m0hrsm/wristwatch_in_korean_is_hand_throat_time_machine/">
    <title>Wristwatch in Korean is &quot;Hand throat time machine&quot; (손목시계) : Korean</title>
    <dc:date>2021-08-12T06:25:05+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><description><![CDATA["Wristwatch in Korean is "Hand throat time machine" (손목시계)

What are some other Korean words that are a little weird when you go dissecting them?

(Edit: Yes, I know that 손목 means wrist and 시계 means watch - this thread is just supposed to be for fun!)"]]></description>
<dc:subject>language korean watches time words</dc:subject>
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    <dc:date>2021-03-14T00:50:32+00:00</dc:date>
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    <dc:creator>robertogreco</dc:creator><dc:subject>pocketbooks bags purses us language words</dc:subject>
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