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  </channel><item rdf:about="https://www.nytimes.com/2026/07/08/opinion/ai-google-gemini-search-questions.html">
    <title>Opinion | The Problem With Google’s A.I. Overview - The New York Times</title>
    <dc:date>2026-07-09T02:49:08+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/08/opinion/ai-google-gemini-search-questions.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[For anyone who publishes on the internet, this is a troubling development, since it lowers website traffic and makes it hard to protect and profit from your intellectual property. But you might think it is good news for internet users. Could there be anything wrong with getting a reliable answer more quickly?

There is. By shortening the time between asking a question and getting an answer, these tools are actually undermining curiosity — and paradoxically threatening our ability to understand the world.

I used to work at Google, about a decade ago. When I was there, we often measured the value of internet content based on factors that indicated user engagement, like clicks and scroll depth. The metric Google seemed to reward — people exploring — is precisely what its A.I. products are now designed to eliminate....

Researchers have found that people in a state of curiosity, while waiting for an answer to an intriguing question, remember unrelated information they encounter during that time far better than they otherwise would. In that same study, the researchers also placed those people in brain scanners. They found that waiting for an answer activates reward circuits in the brain and readies the hippocampus to help form new memories. Similar findings have been reported by other researchers in studies involving infants, older children and adults.

In short, curiosity puts the entire brain into a mode of heightened receptivity — not just for the specific thing you want to know, but also for everything around it. Curiosity opens a window, and while the window is open, learning deepens across the board.

But the window stays open only as long as the question remains unanswered. When an A.I. answers your search query in three seconds, the window closes before curiosity can deepen. You got what you came for, but you also lost what would have turned curiosity into learning: the adjacent article you might have read, the resulting tangent you might have followed, the connection between two ideas with no obvious relationship.

Researchers call this incidental learning, and it’s the mechanism behind many serendipitous discoveries. Scientific breakthroughs, artistic leaps, technological innovation — these rarely emerge from efficient retrieval of known information. They emerge from periods of undirected exploration, when people follow questions further than they need to and find things they weren’t expecting. 

Our technology is increasingly treating the territory between the query and the answer as dead space to be eliminated, when that territory is where most of the learning actually happens. The danger is not that people will stop asking questions. It is that questions will become endpoints. The loss is not serious in any single case. But fewer detours and fewer unexpected discoveries will have a cumulative effect. Over time, people trained this way become better at extracting ready-made conclusions than building connections of their own....

A.I. companies that want to do right by their users will have to take action themselves. Instead of burying sources behind paraphrases and replacing 10 links with one summary, they could make different design choices. They could keep sources more visible. They could show competing explanations, instead of compressing them into one smooth paragraph. They could offer alternative search modes that reward exploration over speed.]]></description>
<dc:subject>curiosity web_search search</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://sonialmeida.com/">
    <title>Sonia Almeida</title>
    <dc:date>2026-07-08T20:28:27+00:00</dc:date>
    <link>https://sonialmeida.com/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>post_digital painting</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="https://mitpress.mit.edu/9780262052597/alan-dunn/">
    <title>Alan Dunn: The Cartoonist as Architectural Critic</title>
    <dc:date>2026-07-08T20:23:53+00:00</dc:date>
    <link>https://mitpress.mit.edu/9780262052597/alan-dunn/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The first in-depth study of American artist Alan Dunn (1900–1974), whose incisive cartoons mocked twentieth-century architecture and urban environments, expanding the field of architectural criticism.

Drawing on his pioneering expertise in the relationship between graphic satire and architecture, Gabriele Neri retraces Alan Dunn’s path from painter to renowned cartoonist, offering an unconventional perspective on architectural and urban transformations—and on their perception within society.

Featuring 200 carefully selected images, including Dunn’s correspondence, unpublished cartoons, preliminary sketches, watercolors, and rare photographs, Alan Dunn demonstrates the critical potential of caricature and cartoons for architectural history. Through Neri’s deft analysis, the book also reveals the complex intersections of architecture with media, publishing, commerce, society, art, and politics.

As Lewis Mumford once wrote of Dunn: “Shall I say that he is obviously a better architect than the architects whose fashionable clichés and grim follies he exposes? Or shall I say that his urbane satiric style, deft but merciless, puts him in a class by himself; for this is what has been missing from contemporary criticism in all the arts. All this is true; but it is not enough.”]]></description>
<dc:subject>media_architecture cartoons illustration comics</dc:subject>
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    <title>Finding Community at Non Films’s DarkRoom - The Brooklyn Rail</title>
    <dc:date>2026-07-08T20:15:44+00:00</dc:date>
    <link>https://brooklynrail.org/2026/07/film/finding-community-at-non-films-dark-room/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Across the city, attendance at independent and repertory theaters, especially among young moviegoers, is plentiful. Long-standing microcinemas like Spectacle and Light Industry are still going strong, and new ones like Low Cinema are opening. Places for robust cultural criticism like Screen Slate, Metrograph Journal, and Film Comment are growing and evolving in the face of journalistic decline.

Amidst all of this, some of the most exciting work and sense of cinematic camaraderie can be found tucked away in the back room of Freddy’s Bar in South Slope.

On the fourth Tuesday of every month, a community of filmmakers, artists, and open-minded viewers gather at DarkRoom for a mystery lineup of short films curated by Brian Ratigan. A longtime programmer and juror on the indie festival circuit, Ratigan’s well of contemporary independent film knowledge (as well as his rolodex) runs deep, so it was perhaps only a matter of time before he developed a screening series of his own. Ratigan hosted the first DarkRoom in the back of Freddy’s in March of 2023, initially envisioning that showcase of some of his favorite experimental shorts, complete with salon-style discussion, as a one-off event. The size and enthusiasm of the audience that night, however, decided otherwise. Three years later, DarkRoom has hosted over seventy shows across multiple boroughs and venues, from established movie theaters like Nitehawk Prospect Park to microcinema and gallery spaces, and even historic sites like the Andrew Freedman Home in the Bronx....

A DIY spirit informs everything about DarkRoom, from the micro-budget films it highlights to the accessibility of the event itself. From the beginning, Ratigan was adamant about not having a cover charge at Freddy’s, wanting to eliminate any gatekeeping or barrier to entry (DarkRoom only sells tickets when it travels to a venue that requires it). However, donations are strongly encouraged, and go directly to the filmmakers screening that evening, almost as if they’re a touring band at a basement punk show. “Everything is split evenly,” Ratigan says, “and it’s never as much as I would like to be giving filmmakers, but for a lot of the artists we’ve hosted, it’s the first time they’ve ever been paid to screen their work at all. As of now, we’ve paid out almost five hundred filmmakers.”...

Despite DarkRoom’s expansion in terms of genre, venue, audience size, etc., it has managed to maintain the communal, artist-centric atmosphere that makes it so unique, most importantly through its emphasis on collaboration and conversation over networking. The vibe may be casual and non-pretentious, but the carefully-considered curation and moderation on Ratigan’s part, as well as artistic seriousness the audience brings, tends to weed out a more careerist crowd. “I’ve always wanted it just to be a room full of artists, not a networking event,” Ratigan says. “We call it a salon, which is a throwback to the Parisian format of getting together and actually talking about the work.” This is reflected in the discussion portions of the program, which Ratigan moderates himself, setting the tone for the type of questions asked....

Going in-person is also the only way to get a limited edition zine featuring the program’s lineup and contact information for the filmmakers, each illustrated and handmade by poster designer and fine artist Elizabeth Yoo, who also designed the series’ logo. Yoo’s recognizable hand-drawn style shaped DarkRoom’s overall aesthetic from the start, reflecting the DIY spirit of the project, while also demonstrating the amount of care put into each night. Yoo says:

    A lot of the time I’m creating entirely new pieces specifically for the event. If a screening falls on the birthday of a favorite director or the anniversary of a film we love, I like to incorporate that into the art. I spend hours drawing, printing, cutting, and stapling the zines, then number each one by hand. Every screening feels special, and you leave with a pocket-sized memento. 
]]></description>
<dc:subject>microcinema exhibition film media_space smallness curation miniature zines miniature_media CRC</dc:subject>
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<item rdf:about="https://www.nytimes.com/2026/07/07/dining/driscolls-berries.html">
    <title>Why Are Berries Everywhere, in Every Season? Driscoll’s. - The New York Times</title>
    <dc:date>2026-07-08T20:11:16+00:00</dc:date>
    <link>https://www.nytimes.com/2026/07/07/dining/driscolls-berries.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In just the last decade, berries have completed the journey from fragile, local, seasonal treat to worldwide refrigerator staple and marketing juggernaut. Global production has tripled since 2000, according to research from the U.N.’s Food and Agriculture Organization, and still cannot keep up with demand. In sales and volume, berries are the fastest-growing category in American produce, according to data from the U.S. Department of Agriculture.

Most of that growth has been driven by Driscoll’s, a $7 billion California company that began as a multifamily farm in 1904, patented its first strain of strawberries in 1958 and is still controlled by family members. In 1989, its board made what the company calls the Meadowood Declaration, a resolution that seemed preposterous at the time: to make all four berries available, in every season, in every part of the world.

Today the company is the undisputed global market leader, shipping four billion containers of highly perishable fruit across 60 countries each year. (The company developed its signature hinged, ventilated plastic clamshell in the 1990s.) According to Circana, a market research firm, Driscoll’s is now the second-highest-earning brand in American supermarkets, behind only Coca-Cola.

Kristin Kiesel, who teaches agricultural economics at the University of California, Davis, said Driscoll’s has changed the paradigm of modern agriculture and produce marketing.

“A strawberry was a strawberry,” she said. “Now a strawberry is a brand.” And only a huge operation like Driscoll’s, she said, can supply market giants like Costco and Walmart with the premium produce that many consumers are willing to pay for, even as their grocery bills rise....

To that end, Driscoll’s today is less a farming business than a research and marketing enterprise, harvesting berry-related data instead of berries. Instead of owning land, the company owns the genetic material of its berries and the knowledge of how best to plant, pick and transport them. It subcontracts with farmers around the world to grow those breeds according to its specifications, then handles sales and distribution after harvest.

But global access to berries has a cost, measured in metrics like water consumption, pollution, pesticides and labor practices. Driscoll’s has come under fire on all four fronts....

In the 2010s, the company faced boycotts and strikes over wages and working conditions. Academics and activists have pointed out the large carbon footprint of flying berries around the world, and criticized the berry industry’s prolific use of plastic sheeting and containers. In June, a former senior compliance manager sued the company, alleging that Driscoll’s penalized him for flagging excess use of pesticides, and that the company had knowingly shipped berries to Canada that exceeded that country’s more stringent limits...
nside a nearby laboratory, where two full-time sensory scientists make their assessments, 210 raspberry varieties were laid out in a grid of plastic pints. Some had been bred for visual appeal, with more shapely shoulders, uniform drupelets and less “hair” (the thin red styles that sprout where the berry is pollinated). Others were developed to maximize yield, with fewer thorns and better “plant architecture” — tall, fluffy stalks that make the berries easy to pick. Each cultivar is tested for qualities like P.S.I., the interior pressure that determines whether a berry will yield to the teeth with an explosive, juicy pop.

Out of those 210 strains, said Kyle Rak, the company’s chief raspberry scientist, perhaps two will make it to market...

“It can be heartbreaking,” he said, gazing fondly on the berries, which varied from golden to blush to crimson, and differed wildly in shininess, symmetry and size.

And all of that was independent of how the berries actually taste. After sweetness and acid — the basic components of a balanced berry — the tasters evaluate each strain for underlying notes of rose, cotton candy, banana and dozens more.

Driscoll’s global raspberry business was built on a cultivar it patented in 2004: the Maravilla, a berry that was red enough, sweet enough and shelf-stable enough to be grown and shipped globally. Compared with previous strains on the market, it was far less likely to mold or collapse in transit, and soon became the industry benchmark.

The drawback of the Maravilla, Mr. Rak said carefully, is that it doesn’t taste all that good. As anyone who has splurged on a container sadly knows, raspberries can look great but taste tart, dry and stiff. The mission across Driscoll’s 35 test plots around the world is to eliminate that disappointment....

Many Driscoll’s berries are no longer planted in soil, but grown in pots filled with carefully balanced mixtures of organic materials like coconut fiber and moss. This system of substrate farming was developed over centuries in the Netherlands to produce maximum yields from minimal land.

It requires a substantial start-up investment by Driscoll’s growers, who also absorb the costs of ever-shifting factors like labor, weather, equipment and rent. The company provides seed plants and “inputs” like soil treatments, along with technical support and marketing dollars. After harvest, the company retrieves the filled clamshells, then compensates the grower according to the price those berries command. According to Driscoll's, growers receive 75 to 80 percent of the revenue.

The costs and risks of becoming a Driscoll’s grower are formidable. Still, “because demand just keeps going up, my growers are in a good position to negotiate,” said Liz Machoff, head of the New York State Berry Growers Association....

The Driscoll’s model reflects another shift in 21st-century agriculture, away from open-source knowledge developed by public institutions like universities, to fiercely protected intellectual property owned by private companies.

The earliest branded fruits — the Dole pineapple (1933) and Chiquita banana (1944) — were the precursors to today’s Fruitist jumbo blueberries, aggressively priced and marketed as “premium snacks.” When Erewhon, the Los Angeles chain of upscale markets, introduced its wildly popular Strawberry Glaze Skin Smoothie in 2024, then made exclusively with Driscoll’s organic berries, the produce world hailed it as a branding breakthrough.

Demand for berries has exploded in the United States because of overlapping recent trends: more snacking and the rise of “functional” foods that promise specific health benefits, said Jonna Parker, who analyzes the produce market for Circana. Premium berries are expensive, but they are also the kind of small luxuries — so-called “revenge shopping” — that Americans have treated themselves to since the Covid lockdowns ended.]]></description>
<dc:subject>agriculture produce refrigeration supply_chains food plants standardization logistics intellectual_property</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:695173067c1a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:produce"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refrigeration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:supply_chains"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:standardization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:logistics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_property"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/09/arts/music/lost-music-venues-britain-v-and-a-museum.html">
    <title>The Victoria and Albert Museum Gets Nostalgic for Britain’s Lost Music Venues - The New York Times</title>
    <dc:date>2026-07-08T20:10:04+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/09/arts/music/lost-music-venues-britain-v-and-a-museum.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[That tension is explored on the other side of town at the Victoria and Albert Museum, in an exhibition that examines some of those fallen sites and the forces that did them in. The show, “Lost Music Venues,” which runs through October 2027, looks back at 50 clubs that shuttered across Britain between the mid-1980s and 2010s, some of which had helped launch bands like Oasis and Daft Punk...

Harriet Reed, the exhibition’s curator, said that it was a chance to “celebrate the creative contribution” of music venues but also “to explore the issues that they face as a sector, particularly the last 15 years or so.”

The Victoria and Albert Museum collected memorabilia from the public for the show, acquiring objects like an old device from the Haçienda nightclub in Manchester that measured noise levels. Other submissions included a trove of items from Mark Webber of Pulp from the band’s early touring days.

Reed said that the reasons that venues close were “almost cyclical,” with issues coming up again and again, like new housing developments that drive up rent and then lead to a burst of noise complaints from new residents. “The politicians may change, the audiences may change, the way music is played might change — but you see the same difficulties,” she said....

Changing social habits and the rising cost of living also mean that people go out less and, crucially, buy less alcohol when they do. This all comes as the industry is still recovering from the toll of pandemic-era shutdowns. And although venues in other cities around the world have faced similar struggles, nightlife in Britain seems to have been hit particularly hard.

“There isn’t a single one of these buildings that wouldn’t be making more money if it was a pizza restaurant,” said Mark Davyd, the founder of the Music Venue Trust, a nonprofit that supports independent music clubs, known as grass-roots venues, that typically host lesser-known acts.
]]></description>
<dc:subject>music_scenes music_venues venues media_space local_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:c3e0b9ea55dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music_venues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:venues"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:local_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://medium.com/doctoral-futures-perspectives/what-were-building-toward-5-insights-from-the-doctoral-futures-townhalls-4d09c08f672f">
    <title>What We’re Building Towards: 5 Insights from the Doctoral Futures Town Halls | by Treviene Harris | Doctoral Futures: Perspectives | Jun, 2026 | Medium</title>
    <dc:date>2026-07-08T20:06:42+00:00</dc:date>
    <link>https://medium.com/doctoral-futures-perspectives/what-were-building-toward-5-insights-from-the-doctoral-futures-townhalls-4d09c08f672f</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the final town hall, we placed participants into groups and asked them to imagine and describe what grad school looks like for a doctoral student beginning their program in 2036. Perhaps unsurprisingly, the answers from each group converged: career preparation is embedded into the curriculum, there are distributed mentorship teams, terminal products now reflect what PhDs go out and do in the world, funding is responsive to real-life events, and students are connected to wider intellectual networks that mitigate the isolation of smaller cohorts...

Asking faculty to articulate the purpose of each program requirement opens up debates about program purpose that we have too long avoided. Asking admissions committees to examine their criteria requires ongoing facilitated conversation exceeding a single workshop. Making funding packages transparent requires programs to agree on what they are offering and why. In the town halls, we realized that the obstacle to these fixes is not always resources. It’s faculty culture and the absence of structured opportunities to surface and work through disagreement....

Mentorship quality came up in every session, at every stage of the pipeline, from the undergraduate classroom through the dissertation to career preparation. The one-to-one apprenticeship model was named, repeatedly, as broken. And this isn’t because individual faculty are bad mentors, but because a student’s progress and success depends on a single relationship that has no structural backup when it fails. A national study on graduate writing instruction that was shared in one meeting found that writing training was almost entirely mentor-dependent...

Well-intentioned discouragement from faculty hits the pipeline unevenly: students with active mentors will receive encouragement while students without them aren’t even aware there’s a conversation to be had. What admissions committees read as “readiness” for graduate study — the polished writing samples, independent research experience, and prestigious letters — are products of prior access rather than innate underlying capacity. One participant pointed out: “The instinct to reward what already looks prepared is self-reinforcing. It needs to be named explicitly.”]]></description>
<dc:subject>higher_education graduate_education mentoring</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1f0519392668/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:higher_education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graduate_education"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mentoring"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.404media.co/we-are-living-in-a-chatgpt-flyer-pandemic/?ref=daily-stories-newsletter">
    <title>We Are Living in a ‘ChatGPT Flyer Pandemic’</title>
    <dc:date>2026-07-08T20:04:35+00:00</dc:date>
    <link>https://www.404media.co/we-are-living-in-a-chatgpt-flyer-pandemic/?ref=daily-stories-newsletter</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“YOUR FLYER LOOKS LIKE GARBAGE,” a viral ChatGPT-generated parody of the genre posted by Jill Oliver reads. “Hey if this is your flyer, I’m not going, I’m not donating, I’m not sharing. Don’t ask me.” The “ChatGPT flyer pandemic” has become a big topic of conversation among graphic designers, musicians, bars, and small business owners who care about design and showing that they’ve put effort into something.]]></description>
<dc:subject>flyers graphic_design ChatGPT local_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9b3335a87a7f/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ChatGPT"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:local_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-many-lives-of-cardboard/">
    <title>The Many Lives of Cardboard - The National Archives</title>
    <dc:date>2026-07-08T13:29:52+00:00</dc:date>
    <link>https://www.nationalarchives.gov.uk/professional-guidance-and-services/our-research-and-academic-collaboration/our-research-projects/research-projects/the-many-lives-of-cardboard/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Many Lives of Cardboard project is an Arts and Humanities Research Council (AHRC) funded collaboration between The National Archives, the University of Edinburgh, and the University of the Highlands and Islands.

This multi-disciplinary project investigates the pasts, presents, and futures of a commonplace material that is often hidden in plain sight. It follows the biographies of cardboard from its production to recycling and beyond. We will be connecting cardboard histories from The National Archives with collections, people, and institutions from across the UK.
Cardboard in the archive

Any encounter in the archive usually begins with cardboard. It is the archive’s necessary material infrastructure, enclosing records in files and boxes and enabling the storage and organisation of documents, and their movement from repository to reader.

Outside the archive, cardboard is usually much more transient. It brings online purchases to our doors; we send it out again with good intentions of recycling; it lies discarded in the streets. Where might we find evidence of the many lives of cardboard in the historic records of government? When, how, and why might the state have taken an interest this mundane material?

But before we get into these questions: what do we mean by cardboard?]]></description>
<dc:subject>paper cardboard containers packaging</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:35dc602d3165/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:paper"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cardboard"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:packaging"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wired.com/story/how-palestinians-are-building-a-digital-archive-that-cant-be-erased/">
    <title>How Palestinians Are Building a Digital Archive That Can’t Be Erased | WIRED</title>
    <dc:date>2026-07-08T03:55:55+00:00</dc:date>
    <link>https://www.wired.com/story/how-palestinians-are-building-a-digital-archive-that-cant-be-erased/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Shomali says that roughly 80 percent of the country’s national collections have been looted, destroyed, or remain under Israeli control. Against that backdrop, the Palestinian Museum in Birzeit has become both a physical repository of Palestinian heritage and the center of an increasingly ambitious digital preservation effort....

A 2025 report by the Applied Research Institute-Jerusalem says at least 2,400 archeological sites in the West Bank have been taken over by Israel....

Meanwhile, Reuters reported in June that Israeli lawmakers are advancing legislation that would place ancient sites in the occupied territory under the Israeli Ministry of Heritage, a move that Palestinians and Israeli rights groups say amounts to de facto annexation and could further expand Israeli control over Palestinian heritage sites.

As of March 24, 2026, Unesco had verified damage to 164 cultural sites in Gaza since October 7, 2023, including historical buildings, religious sites, museums, and archaeological sites.

Many more cultural artifacts and personal histories have likely been lost amid the war, mass displacement, and the destruction of entire communities.

“It was a continuous battle all the time between us and them,” says Shomali about historical efforts to archive Palestinian artifacts amid Israeli aggression since 1948. “We document, they loot; but every time we document, we document with less vivid memory.”]]></description>
<dc:subject>palestine archives endangered_archives</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:287bac364ca9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:palestine"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:endangered_archives"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://substack.com/home/post/p-204000997">
    <title>Books Are Handbags - by seth wang - baddiemir nabokov</title>
    <dc:date>2026-07-08T00:33:41+00:00</dc:date>
    <link>https://substack.com/home/post/p-204000997</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Three weeks ago, after around four years of this, Dalkey rebranded the Essentials. Believe it or not, they’re even worse. Dalkey has kept the creepy, clammy doll-skin (now a BJD grink), of all things, and further assembly-lined the design elements. Now, all the covers have the same thing in the same spot: a large tombstone-shape in the lower left quadrant. Inside the shape smiles or glowers a greyscale portrait of the author. The author’s name is in large serif font on the right. The title of the book sits in smaller red, like a subtitle, right under it. Just below are the names of the introducers as prominently as the researchers of a paper. And indeed, much like a research paper, everything’s in letter-case. They are, impossibly, even more textbook-like than the previous iteration. I do not want one as a handbag.]]></description>
<dc:subject>book_covers graphic_design book_design bags containers books</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:049dbc165f92/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:graphic_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:book_design"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:bags"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:books"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://theforest.dothome.co.kr/">
    <title>Forest. ~2049</title>
    <dc:date>2026-07-07T22:20:30+00:00</dc:date>
    <link>https://theforest.dothome.co.kr/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>forests trees tree_art</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:e10f7384693c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:forests"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trees"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tree_art"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.google.com/books/edition/System/FiFDAQAAMAAJ?hl=en">
    <title>System - Google Books</title>
    <dc:date>2026-07-07T19:30:07+00:00</dc:date>
    <link>https://www.google.com/books/edition/System/FiFDAQAAMAAJ?hl=en</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>furniture storage filing intellectual_furnishings advertisements</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:47db0c2565b3/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:storage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:filing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:intellectual_furnishings"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:advertisements"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.amazon.com/Umberto-Eco-Library-World/dp/B0CV5Y4HJB">
    <title>Watch Umberto Eco: A Library of the World | Prime Video</title>
    <dc:date>2026-07-07T13:32:18+00:00</dc:date>
    <link>https://www.amazon.com/Umberto-Eco-Library-World/dp/B0CV5Y4HJB</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A documentary immersion into all things Eco, a tour of Umberto Eco's private library, guided by the author himself. Combining new footage with material he shot with Eco in 2015, the film documents this incredible collection and the man who amassed it. As Eco leads us among the volumes and his family reflects on his legacy, we also gain insight into the mind of this prolific and original thinker.]]></description>
<dc:subject>eco library documentary to_watch</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fe391188cc08/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:documentary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:to_watch"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wantedinmilan.com/news/umberto-eco-library-opens-in-bologna-10-years-after-his-death.html">
    <title>Umberto Eco library opens in Bologna, 10 years after his death</title>
    <dc:date>2026-07-07T13:31:41+00:00</dc:date>
    <link>https://www.wantedinmilan.com/news/umberto-eco-library-opens-in-bologna-10-years-after-his-death.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The University of Bologna has opened the Biblioteca Eco, a new public library housing the personal book collection of writer and semiotician Umberto Eco, a decade after his death.

The collection, comprising more than 32,000 volumes from Eco's study in Milan, has found a permanent home in the 20th-century wing of Palazzo Poggi, with its entrance on Piazza Puntoni.

Eco, born in Alessandria in 1932, held the chair of semiotics at Bologna's Alma Mater from 1971 to 2007, making the university one of the world's leading centres for the study of signs and communication.

He died in Milan on 19 February 2016, having achieved global literary fame with novels including The Name of the Rose and Foucault's Pendulum.
A living map of Eco's thought

The collection was donated to the Italian state by Eco's heirs in 2020, on condition that it be placed on permanent loan to the University of Bologna.

Before the move, the library was surveyed shelf by shelf in Milan, with the position of every volume, thematic groupings and connections between authors and disciplines carefully documented, so that the new premises in Bologna could reproduce Eco's original arrangement exactly, down to which books he kept lying flat and which stood upright.

That arrangement follows the "good neighbour" principle developed by art historian Aby Warburg, which Eco adopted for his own shelving: placing seemingly unrelated texts side by side so that unexpected connections between them could emerge.]]></description>
<dc:subject>libraries neighbors eco warburg</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:429f71f7c14f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:neighbors"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eco"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:warburg"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/20/us/politics/dc-newsstand-newsroom-newspapers-magazines.html">
    <title>The Newsroom in D.C. Tries to Keep the Newsstand as a Shopping Destination - The New York Times</title>
    <dc:date>2026-07-07T03:56:48+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/20/us/politics/dc-newsstand-newsroom-newspapers-magazines.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[But none of that had yet made it inside the newspapers and magazines overflowing from mismatched bookshelves at the Newsroom, a narrow newsstand tucked into a strip of restaurants and retailers in the Dupont Circle neighborhood. Instead, first timers browsed, looking for obscure magazines or just trying to escape the May sun. A regular grabbed a Sunday paper on the way to the farmers market.

In a capital governed by the thrum of viral sound bites and staccato bursts of Truth Social posts, the Newsroom has emerged as an enduring relic of a Washington that was slower, quieter, more measured.

It may also be the last newsstand of its kind in the city, one that retains news as its primary product and not just a name.]]></description>
<dc:subject>media_city media_architecture newspapers newsstands</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5fbcd2b0596b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_city"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_architecture"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:newspapers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:newsstands"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thedial.world/articles/news/amish-pennsylvania-dutch?ref=thebrowser.com">
    <title>Our Amish Language — The Dial</title>
    <dc:date>2026-07-07T02:39:08+00:00</dc:date>
    <link>https://www.thedial.world/articles/news/amish-pennsylvania-dutch?ref=thebrowser.com</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[When I was at college in California, far removed from the environment I had grown up in, I became fascinated by my community’s transition away from traditionalism. I wanted to find some way of recording it and so, in my last semester at Berkeley, I applied for a grant to fund an oral history project. I would interview around 30 people from my community on video, speaking with them in Pennsylvania Dutch, and translate every exchange into English for subtitles.]]></description>
<dc:subject>amish language ludditism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2dd96d33be12/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:amish"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:language"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ludditism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.wired.com/story/inside-the-luddite-festival-harnessing-gen-zs-rage-against-big-tech/?_sp=49fa6656-0281-4c9c-b4cc-ffffadf7e816.1783385532117">
    <title>Inside the Luddite Festival Harnessing Gen Z’s Rage Against Big Tech | WIRED</title>
    <dc:date>2026-07-07T00:57:10+00:00</dc:date>
    <link>https://www.wired.com/story/inside-the-luddite-festival-harnessing-gen-zs-rage-against-big-tech/?_sp=49fa6656-0281-4c9c-b4cc-ffffadf7e816.1783385532117</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I’m here to watch a performance called “Luddite Recreations,” which is a history of the Luddite movement—a group of artisans and textile workers who resisted the adoption of machines during the early years of the Industrial Revolution in England and whose resistance to being displaced from their work was met with violence by the British monarchy.

It’s one of the opening events of the Summer of Ludd, a weeklong series of talks and activities like how to flirt and date offline, mending, and learning to fight against data centers, all focused on getting people off their phones and into community...

None of the week’s events, including the play, are advertised online. Posters around the neighborhood advertise the Summer of Ludd, declaring “only in real life!,” and booklets with the week’s schedule of events have been placed in community spaces around the area.

I found out about the event in a serendipitously offline way. Earlier in June, I was with a friend in the East Village, and we got caught in a summer downpour. As I was waiting it out in the Museum of Reclaimed Urban Space, a small venue that documents the neighborhood’s history of activism, I found the booklet outlining the Summer of Ludd’s events among several other zines, posters, and pamphlets. So here I am, phone tucked away, notebook out, playbill in hand...

The new Luddite movement has become heavily associated with Gen Z, the first generation to grow up entirely with digital technology. Despite this fact, or perhaps because of it, some young people are becoming increasingly critical of tech’s omnipresence in society. A 2025 Pew Research study found that in 2024, 48 percent of teen respondents said social media has negative effects on people their age—up from 32 percent in 2022....

The group says it began planning the summer’s events in January, trying to include off-tech alternatives for everything from movies (they’ve partnered with the Museum of Interesting Things to show 16-mm films) to long-distance chatting (there’s a hands-on shortwave radio and walkie talkie workshop).

“We believe that the event is the medium to enact social change, where people can meet up in physical space. When we are trying to organize online, we have Mark Zuckerberg’s eyeballs and Silicon Valley’s fingers in the sacred human interactions of our lives,” Gowanus says. “We are striving to create an event that defies consumption.”...

At an event called “Google in Real Life,” people can ask questions of their fellow attendees about their personal expertise. Mara McGuire, a 20-year-old student currently taking a break from school, read tarot cards for anyone interested. McGuire says she came across the group as it rehearsed the play in the park and asked how she could get involved.

“The main thing that interested me was the emphasis on human connection and finding ways to really gain other perspectives from getting out in the world,” she says. The online world, McGuire adds, is overwhelmed with information. “I wanted to be able to learn from other people.”]]></description>
<dc:subject>refusal ludditism zines offline</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:78da9f9e56d5/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:ludditism"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:zines"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:offline"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dhpsny.org/">
    <title>Homepage | Documentary Heritage and Preservation Services for New York</title>
    <dc:date>2026-07-06T15:16:19+00:00</dc:date>
    <link>https://dhpsny.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Documentary Heritage and Preservation Services for New York (DHPSNY) is a program of the New York State Archives and New York State Library to provide service and support for the state’s archival and library research collections. DHPSNY provides free planning and education services to collecting institutions across New York State — including archives, libraries, historical societies, museums, and other organizations — that safeguard and ensure access to historical records and library research materials.]]></description>
<dc:subject>METRO preservation</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d90adda5a97c/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:preservation"/>
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</item>
<item rdf:about="https://www.criterion.com/current/posts/9192-art-with-a-life-of-its-own-a-conversation-with-gary-hustwit?srsltid=AfmBOordUPWkd4_0mPIe1guhWLHNsA-1HGstQ8B0nGfNPQPswpNF97Mi">
    <title>Art with a Life of Its Own: A Conversation with Gary Hustwit | Current | The Criterion Collection</title>
    <dc:date>2026-07-05T22:25:57+00:00</dc:date>
    <link>https://www.criterion.com/current/posts/9192-art-with-a-life-of-its-own-a-conversation-with-gary-hustwit?srsltid=AfmBOordUPWkd4_0mPIe1guhWLHNsA-1HGstQ8B0nGfNPQPswpNF97Mi</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I think you have to take a bigger-picture view of it, because I’m still making all those choices in the sense that I’m curating all the material that is available for the system to choose from, and I’m designing all the ways that those things can interact. If you look at it from a conventional filmmaking lens, then yeah, I am not controlling the content of each iteration of the film. But I’ve designed it—with my team, an incredible group of people, who put thousands of hours of work into making it possible—so that when I click “generate,” it’s going to work every time. And there’s a freedom to that, as a creator. I get to be surprised by my own film every time.

 

People have asked me, “Are there versions of the film that come out that you don’t like, or that you wouldn’t normally have made?” And there definitely are! There are times where the system will come up with something at a screening, and I’ll scratch my head and go, “God, I might have maybe put that scene in a different place. Maybe this isn’t my favorite version of the movie.” And then somebody will come up to me afterward and say, “This was my favorite version of the movie so far!” So I came to this realization that it’s all subjective, and I don’t need to be so precious about each individual iteration....

If a scene is selected, the system is more likely to place it in a part of the film where it thinks it’s going to make sense thematically and then figure out things that could come before and after it that might work well. It is very—intentionally—chaotic sometimes. But we establish early on that, scene-to-scene, you could be anywhere. You could be in the 1970s, you could be with Brian in the present, you could be with a band that he’s working with. And I think there’s an excitement about that too. I like films where I don’t know what’s going to happen next. That’s part of the reason that we let the software show itself in the film. There are certain points where you’ll see code on-screen or you’ll see it scrubbing through different files in the data set, as a signal to the viewer that something’s happening now. In reality, most of those choices that the system is making, it makes in like a thousandth of a second at the beginning of the output. But there were places where we wanted it to show its process a little bit.]]></description>
<dc:subject>gen_AI artificial_intelligence film eno hustwit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5e960ff110bd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:film"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:eno"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:hustwit"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=Y2Eg-fR-4oI">
    <title>H. O. Studley Tool Cabinet Tour with Christopher Schwarz &amp; Don Williams - YouTube</title>
    <dc:date>2026-07-05T22:23:34+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=Y2Eg-fR-4oI</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Don Williams and Chris Schwarz (Lost Art Press) take us on a tour of the H. O. Studley tool cabinet. 

Learn more about the mysteries surrounding this master artisan, and take a closer look at the beautiful tools and cabinet.]]></description>
<dc:subject>containers tools boxes toolkit</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5f4f883d31f9/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:boxes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:toolkit"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://cabinetmagazine.org/events/chaouli_dolven_emre_mccarthy_book_handling_agency.php">
    <title>CABINET / Participatory Event / “The Book Handling Agency: The Berlin Session,” with Michel Chaouli, Jeff Dolven, Merve Emre, Eva Geulen, Tom McCarthy, and company</title>
    <dc:date>2026-07-05T22:22:12+00:00</dc:date>
    <link>https://cabinetmagazine.org/events/chaouli_dolven_emre_mccarthy_book_handling_agency.php</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Please join us for an evening with New York’s fabled Book Handling Agency, an organization whose roster of scholars and writers have been trained to transform your unread books into artifacts that will stand as monuments to your cultural erudition and discernment.

The agency brings to life Irish author Flann O’Brien’s 1941 satirical proposal for a service that would make any unread book appear as if “its owner has practically lived, supped, and slept with it for many months.” O’Brien imagined that the service would be of most value to wealthy people who have purchased large numbers of books in order to appear well-read. But we, of course, know that every library contains books that, despite best intentions, have not been—and, perhaps, never will be—read.

The Book Handling Agency is your one-stop solution to this dilemma. Bring an unread book from your library, and let our expert book handlers not only distress it outwardly but also add internal signs of devoted reading, ranging from judicious underlining to marginalia so clever that you will be eager to lend it to friends. Your professionally handled book will broadcast intellectual acumen for the rest of your life, and down through the ages.]]></description>
<dc:subject>books patina</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d03643c3ee01/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:patina"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.bloomberg.com/news/articles/2026-06-30/-sidewalk-nation-makes-the-case-for-an-undersung-urban-resource?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc4MjkyMzkwNywiZXhwIjoxNzgzNTI4NzA3LCJhcnRpY2xlSWQiOiJUSEc5VTJWVFREMlAwMCIsImJjb25uZWN0SWQiOiIxOTQxOTk4OTU5NTE0MjE1ODMxRUM1RDNEN0NCQkQ0NiJ9.3qM74P8277wic_Sn72yOsrOTU02SjEdE542tJESFg8w&amp;cmpid=citylab-weekly&amp;leadSource=uverify%2520wall">
    <title>'Sidewalk Nation' Makes the Case for an Undersung Urban Resource - Bloomberg</title>
    <dc:date>2026-07-04T17:42:02+00:00</dc:date>
    <link>https://www.bloomberg.com/news/articles/2026-06-30/-sidewalk-nation-makes-the-case-for-an-undersung-urban-resource?accessToken=eyJhbGciOiJIUzI1NiIsInR5cCI6IkpXVCJ9.eyJzb3VyY2UiOiJTdWJzY3JpYmVyR2lmdGVkQXJ0aWNsZSIsImlhdCI6MTc4MjkyMzkwNywiZXhwIjoxNzgzNTI4NzA3LCJhcnRpY2xlSWQiOiJUSEc5VTJWVFREMlAwMCIsImJjb25uZWN0SWQiOiIxOTQxOTk4OTU5NTE0MjE1ODMxRUM1RDNEN0NCQkQ0NiJ9.3qM74P8277wic_Sn72yOsrOTU02SjEdE542tJESFg8w&amp;cmpid=citylab-weekly&amp;leadSource=uverify%2520wall</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the new book Sidewalk Nation: The Life and Law of America’s Most Overlooked Resource (Harvard University Press), author Michael Pollack explores the “tangled web of state and local regulation” that governs sidewalks, with cities often passing along responsibilities for tasks like clearing snow and keeping walkways safe. He paints a portrait of the American sidewalk a disorderly and often neglected network, filled with literal and metaphorical cracks that give rise to all sorts of conflict, from mundane clashes over maintenance to more consequential fights over accessibility and inequality....

“There’s a lot of that historical legacy of viewing sidewalks not as a public space, not as a public benefit, but as a private benefit,” says Pollack, a law professor at Cardozo School of Law in New York City. “And that has shaped a lot of the legal architecture of them today, under which installation, maintenance and caretaking are often still private responsibilities.”...

In most cities, at least some caretaking duties are passed down to private residents; in New York City, that also includes liability for injuries that occur on the sidewalk. Meanwhile, residential properties in Houston weren’t required to have sidewalks until 1990, resulting in pockets of neighborhoods with virtually no connected walking infrastructure....

 Is the current way of governing — that is, passing on maintenance responsibilities to private owners — unique to sidewalks?

It is unique for a public space. You know, we don’t have private responsibility when there are potholes in the streets, or when they need to be cleared of snow. The parks department takes care of our parks...

New York has an extensive sidewalk network because there’s so many people and there’s so many things to do. So what it’s gotten right is having an attitude that encourages a lot of vibrant use of the space. What it’s gotten wrong, I think, is that with all of those uses, it really creates the risk of uncoordinated activity that ultimately degrades itself. We call this the tragedy of the commons: Too much of a good thing can — especially when it’s not regulated or coordinated — end up depleting the resource for everyone....

 Is there a city that comes close to your vision?

In Denver, as a result of a voter referendum, they’ve imposed a fee on property owners, one for residential and one for commercial. The money is used specifically for sidewalk expansion and maintenance through the Department of Transportation and Infrastructure, which is responsible for street design as a whole. They are focusing first on fixing what’s already there, which makes sense for two reasons. One, it can be a great way to build momentum and public confidence in this project. The other is building sidewalks where they don’t already exist can be politically sensitive.

]]></description>
<dc:subject>urban_planning public_space sidewalks civic_infrastructure</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:49d95dcd466e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:urban_planning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_space"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sidewalks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:civic_infrastructure"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://dickhiggins.org/about-the-press">
    <title>About the Press | Dick Higgins</title>
    <dc:date>2026-07-04T17:39:20+00:00</dc:date>
    <link>https://dickhiggins.org/about-the-press</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Something Else Press was founded by Richard C. (Dick) Higgins in 1964 and lasted a decade. It was the first publishing house in the United States to devote itself to what are now called ‘artists’ books’ - integral artworks designed for publication and distribution in traditional book formats - and the scope and importance of its activities have not been equalled since. In the history of small presses, especially in America, the Something Else Press remains extraordinary, if not unique, in its combination of high quality trade formats, well-crafted printing and assembling, and broad distribution methods…A complex of factors, training from the nature of the times to the personal troubles then besetting Higgins himself, caused the press to cease operations just as a wider audience was coming to appreciate its accomplishments. Now, the publications of the Something Else Press are sought after and prized by artist, collector, and historian alike. - Peter Frank, “Introduction” from Something Else Press: An Annotated Bibliography, McPherson, 1983. 


EXHIBITION: "Call It Something Else, Something Else Press, Inc. (1963-1974)," Exhibition, Museo Nacional Centro Reina Sofia. September 27, 2023 - January 22, 2024. Curators: Alice Centamore and Christian Xatrec. https://www.museoreinasofia.es/en/exhibitions/something-else-press

]]></description>
<dc:subject>fluxus small_press publishing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ead226ee73c7/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:small_press"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:publishing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.moma.org/research/archives/finding-aids/SomethingElsePressb.html">
    <title>Something Else Press Archivesin the Museum of Modern Art Archives SomethingElsePress</title>
    <dc:date>2026-07-04T17:37:09+00:00</dc:date>
    <link>https://www.moma.org/research/archives/finding-aids/SomethingElsePressb.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Something Else Press Records document the celebrated small press best known for being one of the first publishers of artist books and a main publisher of Fluxus materials. The bulk of the records span the years 1972-1974, after the press relocated to Vermont from New York City, and contain correspondence, publishing contracts, book materials, financial reports, and other documents from the final years of its operation.

Arrangement
The Something Else Press Records retain their original order as received from Jon and Joanne Hendricks in 2005. They are arranged alphabetically by institution, company, book title, phrase, or correspondent's last name.

Historical Note

Something Else Press was founded in 1964 by artist Dick Higgins and his wife and fellow artist Allison Knowles, and is widely considered to be one of the first experimental artist book publishers. Higgins (1938-1998) had studied under John Cage at the New School (alongside fellow classmates Allan Kaprow, George Brecht, and Al Hansen) and became an early participant in the art movement Fluxus, which coalesced in the early 1960s. Higgins established Something Else Press in 1963 as an outgrowth of Fluxus. First headquartered in New York City the press's output included concrete poetry, manifestos, artist statements, poetry, fiction, criticism, and other works. The press relocated to West Glover, Vermont in 1972 and went bankrupt in 1974. Many notable artists worked on the press, such as Emmett Williams, Barbara Moore, and Jan Herman.
In more than a decade of operation the press's output numbered roughly 80 books, newsletters, and pamphlets including influential books by artists such as Claes Oldenburg, Gertrude Stein, Dieter Rot, and John Giorno. Among the press's publications was a recurring project titled The Great Bear Pamphlets. This series of 20 booklets each showcased a single artist, project, or performance, were uniform in format and design, and documented important early Fluxus activities and performances. The editions were also used to more widely disseminate Higgins' political and artistic ideas, often including essays and artist statements by Higgins and his peers. The press also published the Something Else Press Newsletter, a tabloid-style pamphlet that included announcements and shorter texts not suitable for their own publications. ]]></description>
<dc:subject>archives fluxus small_press</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:3e58e361074a/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:archives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:fluxus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:small_press"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.museoreinasofia.es/en/exhibition/something-else-press">
    <title>Call It Something Else</title>
    <dc:date>2026-07-04T17:29:14+00:00</dc:date>
    <link>https://www.museoreinasofia.es/en/exhibition/something-else-press</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I stumbled home to Alison Knowles, and announced that we had found a press [...]

“Really,” she said. “What’s it called?”

I didn’t know. I said something [...] like “Shirtsleeves Press.”

“That’s no good,” she said. “Call it something else.”

The exhibition Call it something else: Something Else Press, Inc. (1963-1974) focuses on the books, projects, and activities of Dick Higgins’s publishing house Something Else Press, as well as on his theoretical notion of Intermedia, a term the publisher reappropriated to designate the heterogeneous and category-defying forms sustained by the Something Else matrix.

The publishing house was founded amid the “linguistic turn,” a crucial moment in the arts of the 1960s, when artists began using language and text as the material of their aesthetic propositions. These projects—ranging from Fluxus in the first half of the decade to Conceptual Art in the second—often took the form of publications, such as books, newspapers, or magazines, which were made in explicit opposition to rarefied artworks, and aimed for wide distribution.

The Something Else Press aimed from the start to seize and build upon the creative experiments by composers, dancers, authors, and artists of all kinds (many in Higgins’s circle) and to give their ephemeral work the necessary buttressing to carry it into the future. If the book itself is an object—a fact Higgins made impressively concrete when he noted that four hundred pages equals one inch in thickness—its covers, paper, and binding, like canvas and primer, constitute its support. Could high-quality paper, striking layouts, and new distribution methods imbue creative gestures and statements with enough substance to be graspable? At the time, certain forms of advanced art were avoiding the object at all costs. In committing himself to book-objects, Higgins confronted the object status, including but not limited to the objectification of the creative act and the rise of art as a commodity object. 

The show is divided into three major sections. It begins with an archival core showcasing the complete output of the Press. The second section is devoted to the exhibitions and events program of the Something Else Gallery, an auxiliary of the publishing house active between 1966 and 1972. The third and last section focuses on a selection of publications, issued by the Something Else Press during its eleven-year existence, which exemplifies the variety of practices supported by Higgins’s project. The exhibition will help restore the position of the Something Else Press in the history of postwar art and demonstrate the relevance of Higgins’s intermedia in the practices and discourse of advanced art.]]></description>
<dc:subject>small_press fluxus alison_knowles</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a540620f9cec/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:fluxus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alison_knowles"/>
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</item>
<item rdf:about="https://hyperallergic.com/the-hudson-river-schools-american-apocalypse/">
    <title>The Hudson River School’s American Apocalypse</title>
    <dc:date>2026-07-04T17:27:39+00:00</dc:date>
    <link>https://hyperallergic.com/the-hudson-river-schools-american-apocalypse/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Cole’s 1836 “The Oxbow,” now at the Metropolitan Museum of Art, answered Thoreau’s question, in a fashion, before he even asked it. The painting depicts Mount Holyoke in Northampton, Massachusetts, following a thunderstorm — a representative and ambivalent masterpiece. It was made at the exact moment that railroad tracks and telegraph lines began to cross the country; the Erie Canal drove a deep gash through Upstate New York; and dark, Satanic Mills from Lowell’s Merrimack Manufacturing Company of 1823 to Cleveland’s Cuyahoga Steam Furnace Company of 1837 belched smog. But there is no sign of industry — or of people, save for the artist himself, hidden in the foreground with his easel and umbrella — in the painting. This is an environmental work that engages with the anticipatory grief that industrialization creates, that it continues to create. From the perspective of the mount, the painting looks down on the lush river valley, a green-robed island (or perhaps peninsula) dotted with trees, while sun breaks out on the right-hand of the canvas. Dark thunderclouds roll out to the left, but it’s only the title of the piece that indicates that this is after the storm. As the viewer, it’s perfectly possible that the clouds are actually rolling in. ]]></description>
<dc:subject>hudson_river_school Hudson_Valley painting industrialization landscape</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:aae3debfc3cc/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:Hudson_Valley"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:painting"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:industrialization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:landscape"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://newsletter.shifthappens.site/archive/can-t-stop-writing-about-keyboards/">
    <title>Can’t stop writing about keyboards</title>
    <dc:date>2026-07-03T21:57:49+00:00</dc:date>
    <link>https://newsletter.shifthappens.site/archive/can-t-stop-writing-about-keyboards/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[After I published the “Key, in sight” story above, many people asked me about the big button/key I had below the display that I could just slam in a very rewarding way. Well, what is more fun than one big key? Two big keys, of course.

I bought this keyboard on Etsy and then modified with more clicky switches and two even more arcade-y buttons. They are incredibly satisfying to press. The keys output Space and Esc on their own, but through the magic of Karabiner and Keyboard Maestro, they help with other things like taking screenshots, scanning, and muting on audio calls.]]></description>
<dc:subject>keyboards haptics interfaces touch buttons</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d985b0dc67ba/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:haptics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:interfaces"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:touch"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:buttons"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://bsky.app/profile/drkarrschmidt.bsky.social">
    <title>Suzanne Karr Schmidt (@drkarrschmidt.bsky.social) — Bluesky</title>
    <dc:date>2026-07-03T02:32:22+00:00</dc:date>
    <link>https://bsky.app/profile/drkarrschmidt.bsky.social</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Curator of (very old) curious books, prints on fabric, functional ephemera (newberry.org), Director of a pop-up book society (movablebooksociety.org). History of art, science, decorative food, pirates. Where's the WHIMSY? 🚫AI 
Mostly Chicago. She/her]]></description>
<dc:subject>popups material_texts</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b310ee2f3a2b/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:material_texts"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://journals.sagepub.com/doi/abs/10.1177/13591835261464490">
    <title>Old devices, new meanings: The enduring materiality of outdated media and communication technologies - Oya Morva, 2026</title>
    <dc:date>2026-07-02T16:31:31+00:00</dc:date>
    <link>https://journals.sagepub.com/doi/abs/10.1177/13591835261464490</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This article explores the enduring presence and shifting meanings of outdated media and communication technologies (MCTs) in everyday life. Based on 30 in-depth interviews conducted in Istanbul, it examines how individuals retain objects such as Walkmans, vinyl records, and early mobile phones – devices no longer widely used, yet still materially and emotionally significant. Rather than approaching these items as nostalgic collectibles, the study reframes retention as a materially mediated practice through which attachment, memory, and critique are enacted. Bringing material culture studies, science and technology studies, and domestication theory into conversation, the article argues that outdated MCTs act as mediators of identity and memory and enable alternative engagements with time, value, and media. Istanbul's urban ecology – marked by repair networks, second-hand circulation, and layered temporalities – further supports these practices. The article contributes to debates on materiality by showing how old devices persist as materially active participants in everyday urban life – culturally re-signified and affectively charged artefacts rather than passive remnants of past use]]></description>
<dc:subject>repair media_archaeology analog obsolescence memory</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2c3f6a6a3df7/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:repair"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:analog"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:obsolescence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:memory"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.robinsloan.com/notes/newsletter-seasons/">
    <title>Advice for newsletter-ers</title>
    <dc:date>2026-07-02T04:28:18+00:00</dc:date>
    <link>https://www.robinsloan.com/notes/newsletter-seasons/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[A per­sonal email newsletter ought to be divided into sea­sons, just like a TV show.

By “per­sonal” I don’t mean “diaristic” but rather “pro­duced almost entirely by one writer, in order to pursue some interest and/or estab­lish a small business.”

Here’s what you get from the nomenclature, the metaphor, of the “season”:

    a sense of progress: of going and getting somewhere.
    an opportunity for breaks: to pause and reflect, reconfigure.
    an opportunity, furthermore, to make big changes: in terms of subject, structure, style.

When do you break between sea­sons? Anytime! When life gets weird. When you’re feeling burnt out. When you sense a new obses­sion taking shape. When you want to bring in a guest writer. When it’s raining outside. Really: anytime.

]]></description>
<dc:subject>newsletters seasons</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f597d53a1612/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:newsletters"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:seasons"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.chronogram.com/arts/cagecircle-composition-for-an-exhibition-celebrates-cages-method-of-chance/">
    <title>“Cagecircle: Composition for an Exhibition” Celebrates Cage's Method of Chance - Chronogram Magazine</title>
    <dc:date>2026-07-02T03:49:55+00:00</dc:date>
    <link>https://www.chronogram.com/arts/cagecircle-composition-for-an-exhibition-celebrates-cages-method-of-chance/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“It’s kind of an art circus,” Jeffery Lependorf remarks, about “Cagecircle: Composition for an Exhibition,” which opened at the Bard College Stevenson Library on June 27. Lependorf is executive director of the John Cage Trust, and would be called the curator of the show, if he hadn’t chosen everything using chance operations.

John Cage was fascinated by the I Ching, and composed many of his musical scores by flipping coins—and later using a computer program that generated random numbers. Lependorf employed that same program during an “open curatorial workshop” on April 23 to choose the (roughly) 93 items in “Cagecircle.”...

In 1991 Cage curated a show called “Museumcircle” at the Chemnitz Industrial Museum in Munich. He drew a circle on a map with the museum at the center; within the circle were 19 museums. Cage wrote to each institution asking for 10 representative items. Then he used chance procedures to pick one item from each list, so “Museumcircle” comprised 19 items. “I wanted to do the same thing, but when you loan an artwork from a museum, it takes about a year, and it’s expensive—you need insurance, there’s cartage,” Lependorf explains, “so I asked the wonderful archivist at the library and we came up with a list of 22 collections throughout the Bard community.”...

Some of the choices were obvious: the Center for Curatorial Studies, the Cage Trust itself, Stevenson Library, the Hannah Arendt Center, the indigenous studies department. “Then we thought of other possible collections,” recalls Lependorf. “We wrote to Buildings and Grounds, and said, ‘Do you have things?’ and they said, ‘We have lots of cool things here!’ There’s everything from a photo of when the Buildings and Grounds building caught on fire in the `50s, to a hammer they dug up somewhere.”...

When Lependorf approached the chemistry department, they said, “We don’t have anything interesting,” and he replied, “Yes, you do. It’s interesting to us non-chemists.” The chemists eventually provided an agate mortar and pestle, a volumetric flask, and a watchglass.

Cage invented the “prepared piano,” a way of modifying a piano by placing small objects under the strings, giving it a toy-like sound. The show will include Cage’s own kit for “Sonatas and Interludes for Prepared Piano”—mostly bolts and screws.]]></description>
<dc:subject>cage chance exhibition upstate curation music</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:5d897a494663/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:chance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:exhibition"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:curation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:music"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/27/arts/television/tony-brown-dead.html">
    <title>Tony Brown, Host of Public Affairs Show Aimed at Black Audiences, Dies at 93 - The New York Times</title>
    <dc:date>2026-07-02T03:35:32+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/27/arts/television/tony-brown-dead.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Tony Brown, the pioneering host and producer of “Tony Brown’s Journal,” a long-running public affairs television show aimed at Black audiences that was notable for its candid and often contentious discussions about race and other politically charged issues, died on June 17 at his home in Newport News, Va. He was 93...

By the time his PBS show went off the air in 2008, Mr. Brown estimated that, over the course of nearly four decades, he had interviewed more than 1,000 guests, including Lena Horne, Jesse Jackson, Angela Davis, Bill Cosby and Sammy Davis Jr....

An intense and impeccably dressed former social worker with hardscrabble West Virginia roots who was blessed with a silken baritone, Mr. Brown acknowledged that he made programming decisions “on the basis of one thing — will it help Black people?”

He told the Congressional Black Caucus at a hearing in 1972 that the exclusion of Black people from executive jobs in the media had led to a “totally brainwashed” Black population “drilled to think like whites,” resulting in a “general disrespect and misunderstanding by whites about Blacks, and Blacks about themselves.”

To remedy the situation, he urged that public broadcasting stations assemble staffs that resembled the ethnic makeup of their audiences.

Two years earlier, after a brief stint at Detroit’s public television station, WTVS, Mr. Brown had moved to New York City to become the executive producer and host of an award-winning monthly public TV show called “Black Journal.” Mr. Brown’s bluntness and flair for broadcasting enhanced the ratings, and soon it had a weekly slot on the schedule....

When the public television station WNET planned to air a Swedish documentary that portrayed a Harlem overpopulated with prostitutes, drug peddlers and street hustlers, Mr. Brown organized civic groups and Black station employees in protest, arguing that “a bigoted sector of white America will have its prejudices frozen in place and reinforced.” The documentary was pulled from the schedule.

Another Times television critic, Jack Gould, suggested that the show’s value lay in educating whites about the Black perspective, and Mr. Brown responded angrily. “Racism is a big, powerful white-establishment newspaper setting up a white television God system interpreting to Black people what they have seen on a program produced for Blacks by Blacks and about Blacks,” he wrote in a letter published in The Times in 1970.]]></description>
<dc:subject>pbs public_media public_television blackness race</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:98f02d446106/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_media"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:public_television"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:blackness"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:race"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://substack.com/@mabreu91/p-200799673">
    <title>Adversarial poetics (draft / notes)</title>
    <dc:date>2026-07-02T03:16:44+00:00</dc:date>
    <link>https://substack.com/@mabreu91/p-200799673</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Thus, drawing on such global traditions—such as West African divination as the ‘first computers’, Haitian Vodou veves, Nsibidi ideography, Islamic automata, Tang-era ‘grass script’ calligraphy, medieval sigils, Dada sound-poetry, Russian Constructivist Zaum, Surrealist automatism, Fluxus event scores, RAMMELLZEE’s Ikonoklast Panzerism, Brazilian concretism, East Asian planchette writing—I argue we must see adversarial poetics not as a novelty of silicon automation discourse but as a historically persistent technique for resisting, encrypting, and revealing systems of interpretation. This research intends to situate the alternative history of abstraction as a network of, in Eglash’s terms, heritage algorithms (Eglash 1999).

A central notion for me is that the interpretive boundary of a machine-learning system constitutes a site of agency. Poetic adversarial strategies—obliquity, illegibility, pattern-saturation, semiotic noise, ritualized randomness, automatism, deterministic chaos based divination—are uniquely positioned to probe this boundary. Ultimately, adversarial poetics becomes a method for investigating, modeling, and challenging contemporary machine hermeneutics....

This article begins from two premises.

    Adversarial poetics is a historically layered practice embedded within global aesthetic and ritual systems.

    The vulnerability of machine-learning models to certain poetic strategies reveals something fundamental about the interpretive threshold of computational systems—what I want to call machine opacity. Machine opacity is a site of activity, selection, and interpretive agency performed by the model itself. Adversarial poetic techniques are implicit and explicit challenges to machinic agency....

To develop a global genealogy, this section identifies some major historical clusters:

    Afro-Atlantic Ritual Semiotics

    Esoteric and Divinatory Writing Systems

    Avant-Garde Obstruction and Semiotic Noise

    Black Radical Counter-Logics and the Poetics of Refusal

    Asian Calligraphic Styles – Tang-era ‘grass script,’ Japanese hentaigana and kuzushiji]]></description>
<dc:subject>hacking adversarial_aesthetics resistance obfuscation writing textual_form</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:72dac6a1f43d/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:hacking"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:adversarial_aesthetics"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:resistance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:obfuscation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:textual_form"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.reddit.com/r/MaliciousCompliance/">
    <title>Malicious Compliance</title>
    <dc:date>2026-07-02T03:12:14+00:00</dc:date>
    <link>https://www.reddit.com/r/MaliciousCompliance/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>rules obediance obfuscation resistance</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:61ab06edf400/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rules"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:obediance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:obfuscation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:resistance"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/interactive/2026/06/29/dining/america-250-years-of-food.html">
    <title>The Pursuit of Hungriness: 250 Years of American Food Innovation - The New York Times</title>
    <dc:date>2026-07-02T03:11:55+00:00</dc:date>
    <link>https://www.nytimes.com/interactive/2026/06/29/dining/america-250-years-of-food.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Food options are limited if you don’t live on or near a farm. Meat must be heavily salted, dried or smoked to keep from rotting. Milk spoils within hours. Fresh produce wilts in transit. Frederic Tudor, who will become known as “the Ice King,” starts harvesting ice from New England rivers and lakes, packs it tightly in sawdust and ships it around the globe, revolutionizing food preservation. At first, ice is a luxury item or a necessity in hospitals, but by the late 19th century, homes have ice boxes. The wooden crates, lined with zinc or tin, are filled by regular ice deliveries.]]></description>
<dc:subject>food food_history culinary_history refrigeration temperature preservation canning containers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:b7afa11be10e/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:food_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:culinary_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:refrigeration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:temperature"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:preservation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:canning"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://libarynth.org/agua_viva">
    <title>agua_viva [the libarynth]</title>
    <dc:date>2026-07-02T03:04:20+00:00</dc:date>
    <link>https://libarynth.org/agua_viva</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Is this word to you promiscuous? I would like it not to be, I am not promiscuous. But I am kaleidoscopic: I'm fascinated by my sparkling mutations that I here kaleidoscopically record.]]></description>
<dc:subject>methodology promiscuity kaleidoscopes writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:6cb0f749e068/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:methodology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:promiscuity"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kaleidoscopes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:writing"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://orionmagazine.org/article/sonic-memory/">
    <title>Sonic Memory - Orion Magazine</title>
    <dc:date>2026-07-01T00:07:00+00:00</dc:date>
    <link>https://orionmagazine.org/article/sonic-memory/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I ONCE THOUGHT THAT “NATURAL” landscapes, the healthiest, most pristine places, are quiet. But at Celilo and other submerged rapids and Native fisheries along the Columbia, tribal members who recall those lost sounds show how silence is a symptom of an ailing ecosystem, an erasure of the cultural landscape. Soundscapes have changed as the flow of water has changed as those who manage it have changed. Downriver from the dams, the Army Corps narrowed and deepened the Columbia’s estuary into a shipping channel that runs through the Portland area. Industry displaced Chinookan villages. Clangs of port facilities replaced wetlands once loud with songbirds, ducks, and beavers. As journalist Chris Berdik writes in his 2025 book Clamor, noises can be “less about the sounds themselves and more about who is making them.” Who gets to be loud reflects larger power structures, a colonization of sound....

Because gray whales’ calls lack phrases strung together and repeated, a structure that’s associated with song, scientists say they don’t sing like their bowhead and humpback relatives. But what defines a song is debatable and culturally fraught, reinforcing western European and settler-colonial values, as Dylan Robinson, a xwélmexw (Stó:lō/Skwah) writer, artist, and professor at the University of British Columbia’s School of Music writes in his 2020 book Hungry Listening...

Gray whales make the loudest sound in their repertoire—a deep moan—while migrating north. The calls make me think of a cello trembling its lowest notes, until they’re released in a gritty, longing boom. The moans reverberate for dozens of miles across the continental shelf, especially at night when the whales are most vocal. This may be a way to keep in touch during migration and to teach young whales the route.

“It’s sort of like, ‘Follow me, follow me, this is the way to go,’” Rianna Burnham, an acoustic ecologist in British Columbia who studies gray whale sounds, told me. They may also serve a similar navigation function to that of echolocation clicks used by dolphins and orcas. The whales might listen for how their voice hits sharply against a rocky shore, is absorbed along a soft, sandy coast, or echoes above deepwater submarine canyons, possibly signaling where they are, following a sonic map in their mind....

Whale vocalizations evolved in a robust, raucous ocean. “I don’t think we really have any idea how loud the ocean might have been,” said University of Washington researcher Jennifer Tennessen, who studies orcas and humpback whales. While whale populations have remarkably recovered after commercial hunting drove nearly all baleen whales to extinction, the ocean is still left with only a fraction of the giants—to some estimates, just 10 to 20 percent of historic global populations remain, Tennessen said. Genetic research has suggested that the Pacific may have supported more than 100,000 gray whales in what I imagine sounded like a barrage of clicks and moans and burps...

Much like how sound on land preserves a memory of a place, like Celilo Falls’ roar or the thundering of sage grouse wings, whale sounds are a sonic mold of their underwater world, an imprint of time and place. A change in their soundscape threatens their ability to feed, mate, navigate, and communicate. But it also signals a potential loss of culture, of knowledge transferred over generations that has taught whales how to survive.]]></description>
<dc:subject>soundscapes acoustic_ecology morethanhuman whales animal_media</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1abd5626672c/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:soundscapes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:acoustic_ecology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:morethanhuman"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:whales"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:animal_media"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.e-flux.com/notes/6783509/does-writing-have-a-past-a-conversation-with-martha-schwendener">
    <title>Does Writing Have a Past? A Conversation with Martha Schwendener - Notes - e-flux</title>
    <dc:date>2026-06-30T16:17:41+00:00</dc:date>
    <link>https://www.e-flux.com/notes/6783509/does-writing-have-a-past-a-conversation-with-martha-schwendener</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[MS: He was always interested in the program of the apparatus. If you don’t understand the program, you become a functionary of it. That applied to photography, television—and now algorithms. If you’re not aware of how social media works, you just become a functionary. You buy stuff, like stuff, hate stuff—whatever the program induces.

WW: Flusser often insists that our confusion of codes leads us to ask the wrong questions. Instead of asking what kind of consciousness mass media produces, we ask whether artists can redirect it away from sinister purposes, or whether media can be made more human. How did he think artists were better able to ask the right questions?

MS: He thought artists were among the people best able to work against the program. Not only against the program of painting or of photography but also against the larger apparatus. In his 1984 essay “Photo Criticism” for European Photography —which was edited by Andreas Müller-Pohle and was an incredibly important platform for Flusser—he lays out what he thinks the proper approach for a photo critic would be, to show how the photographer is a functionary of various apparatuses, even while struggling to emancipate themself from that function. The critic would show

    society to behave increasingly uncritically towards the nearly omnipresent photographic images that function as models for behavior, attitudes, and values. They would show the camera and the media complex to be only minor cogs in a gigantic programming apparatus on its way towards establishing an automatic totalitarianism.

And they would make “explicit the complex co-implications between man and apparatus that result in photographs.” This criticism would also ask: What sort of camera produced the photograph? Where in the world, by which techniques, against which cultural, political, and historical backgrounds? That jumps out now, when we talk about LLMs, which are largely developed by Western tech companies from training data that is overwhelmingly in English...

I think that’s the question. It’s not just about knowing how to use a tool. It’s about understanding the program well enough to work against it, in order not to become its functionary. More alarming might be the phenomenon of technologists identifying as “artists,” like (Palantir cofounder and CEO) Alex Karp: “I am an artist with a gun.”...

Someone recently emailed me, “What if we’re at the point where the algorithm can convince us that the black box we’re dealing with is transparent?” That’s the next level, a truly post-truth moment. With AI, I’m seeing terms like “gray box,” “glass box”—I even stumbled across “lightly frosted glass box” to indicate that you can see the shadows of the inputs and the outputs, but the coding is still opaque.

One of my favorite things in Flusser is his use of the word “magic.” The real issue with technical images is what he calls their “bewitching” quality. They throw you back into the cave with candlelight and dancing images. It’s a kind of ritual hallucination. He uses the word “hallucination” quite a bit, which is uncanny now when people talk about AI hallucinating....

MS: This is where Flusser is useful. He’s not simply asking whether an image or text is true or not. He is asking what apparatus produced it, what program it belongs to, and what kind of freedom remains possible within or against that program.]]></description>
<dc:subject>flusser resistance apparatus transparency artificial_intelligence</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ec378cda245e/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:apparatus"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:transparency"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:artificial_intelligence"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.mappingasprocess.net/">
    <title>Mapping as Process - Matthew Edney</title>
    <dc:date>2026-06-30T16:14:11+00:00</dc:date>
    <link>https://www.mappingasprocess.net/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>cartography critical_cartography mapping</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2a26af9275f4/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:critical_cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mapping"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=qLNiR4XGJBE&amp;t=351s">
    <title>Art and Power: Maps and Representation - YouTube</title>
    <dc:date>2026-06-30T16:07:51+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=qLNiR4XGJBE&amp;t=351s</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Artists and curators explore how visual systems — from maps to museums — shape power, perception, and narrative. Together, they examine how representation and space can reinforce or resist dominant structures, revealing new ways art can challenge authority and reimagine belonging.]]></description>
<dc:subject>mapping cartography map_art decolonization critical_cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d37c9d96ae82/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cartography"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:map_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:critical_cartography"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://oldster.substack.com/p/when-the-waiting-is-over?ref=thebrowser.com">
    <title>When the Waiting Is Over</title>
    <dc:date>2026-06-30T16:04:46+00:00</dc:date>
    <link>https://oldster.substack.com/p/when-the-waiting-is-over?ref=thebrowser.com</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[I’m not trying to romanticize a slower pace. I’m not advocating a regressive purge of the computers and phones that keep us so connected, our small desires so quickly met. But I’d like to remember what it felt like when we tried to touch the outlines of our waiting and there were no outlines. When our waiting stretched as far as the night sky...

Waiting is wanting, plus time; it’s that ache beneath the rib cage. If I lived in that town now, and the folksinger came, there’d be so many ways to ease that ache. I might ask to take a selfie with him and post it, waiting for the Instagram hearts to warm me up. I might tweet to him the next day. Great show! I’d hope he might follow me back. I wouldn’t ask for more.]]></description>
<dc:subject>waiting temporality</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4bd4e7c4b6a8/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:temporality"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://hyperallergic.com/the-artists-countermapping-the-world/">
    <title>The Artists Countermapping the World</title>
    <dc:date>2026-06-30T15:57:03+00:00</dc:date>
    <link>https://hyperallergic.com/the-artists-countermapping-the-world/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[For Claudio Perna, this takes the form of a sustained engagement with Venezuela, where he lived most of his life and which he mapped most insistently. Born in Milan, he moved to Caracas at 17, where he trained as a geographer and later taught at Universidad Central de Venezuela — bringing a disciplinary understanding of territory that he would repeatedly unsettle in his artistic practice. Between the late 1960s and early 1990s, Perna produced an extensive series of map-based works that treat cartography not as a neutral technology of fact, but as an authored and unstable document. Idea como Arte, a recent exhibition of Perna’s work at the Institute for Studies on Latin American Art, presented photographs, xeroxes, and a selection of maps from this period that range from the diaristic — works incorporating photographs of the artist himself — to dense collages assembling magazine clippings, projection slides, and other objects.

There is a friction between the layers Perna assembles, as in “The Americas” (undated), where the continental landmass is overlaid with the lunar surface, suggesting a parallel between exploration and claim. Elsewhere, Perna introduces more specific markers of foreign presence within a mapped terrain. In “Les Plus Sauvages—Colombia” (1977), he builds over a map of hydraulic resources spanning the Venezuelan-Colombian border, layering in references to artists from either side. He affixes portraits of Venezuelan artists Sigfredo Chacón and Eugenio Espinoza, figures associated with the imported and nationally dominant language of geometric abstraction; Espinoza more explicitly “tropicalized the grid” to resituate it locally. On the other side of the border appears a reproduction of “Colombia Coca-Cola” (1976) by Antonio Caro, which renders the country’s name in the cursive script of the “bottled America” soft drink brand. As in Caro’s original, the gesture collapses national identity into corporate branding, invoking the reach of United States capitalism across Latin America during the Cold War, often described as “Coca-Colonization.” Within Perna’s composition, the logo functions almost like a cartographic label, as if the name of the nation itself has been overwritten by a corporate sign. The Cold War context is specific, but US influence and presence in Latin America now feels less historical than continuous....

Movement, and its obstruction, is subject to monitoring in Sandy Rodriguez’s current exhibition at the Hispanic Society Museum & Library, Tierra Insurgente. Drawing on Mesoamerican traditions of the spatialization of time, she produces contemporary codices that assemble historical events, mythic references, and acts of state violence, distributed spatially so that the map operates as a record of memory. Events that are temporally distant from one another are made to coexist within a single visual field, and in that proximity, they begin to register as part of a continuous historical arc.

Tierra Insurgente stages a set of correspondences between Rodriguez’s work and the museum’s collection of maps and manuscripts. One of the clearest pairings involves “Map of Tequaltiche” (1584), produced by Caxcan artists as part of a geographic report submitted to the Spanish Crown, under a decree by Philip II. The map records the town’s participation in a 1541 rebellion against colonial rule, embedding an account of resistance into a format designed for imperial reporting. In “Resistance Map of Gulf of Mexico” (2025), Rodriguez’s rendering of the recently renamed basin takes up a related countermapping strategy. Political actors appear as mythic or monstrous forms: Governor Ron DeSantis as a sea creature, Trump’s severed head caught in the tentacles of an octopus. Contemporary state violence sits alongside environmental catastrophe, marking the steady rise of sea levels and the trajectory of Hurricane Katrina. She borrows scenes of Spanish arrival from the Tequaltiche map and images of pre-contact Aztec omens — tongues of fire in the sky — that echo the apocalyptic wildfires in California. Where the Aztec notion of the omen remains useful for us is not as prophecy but as a way of understanding how warning signs gather before recognition catches up. 
]]></description>
<dc:subject>map_art counter_mapping critical_cartography indigenous south_america decolonization</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d0fc590df650/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:decolonization"/>
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</item>
<item rdf:about="https://www.nytimes.com/2026/06/23/science/x-ray-specs-for-the-worlds-oldest-sealed-letters.html">
    <title>X-Ray Specs for the World’s Oldest, Sealed Letters - The New York Times</title>
    <dc:date>2026-06-30T15:54:37+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/23/science/x-ray-specs-for-the-worlds-oldest-sealed-letters.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Cuneiform is the world’s oldest written script, and its characteristically wedge-shaped impressions have been found on clay artifacts unearthed in countries like Iraq, Syria and Turkey. More than half a million cuneiform artifacts have been discovered, but many of them remain tantalizingly unstudied for a very simple reason: They’re tightly wrapped in one or more layers of clay, the Mesopotamian version of an envelope.

Researchers used to smash the envelopes open, but a team has now developed a portable X-ray scanner that can digitally peel away the layers of clay to reveal the writing inside, with no destruction necessary.

The researchers have taken their scanner to several museums, and the 4,000-year-old letters they have analyzed have shed light on both trading practices and the role of women in Anatolian society. The results were recently published in the journal npj Heritage Science.

Artifacts bearing cuneiform script tend to be small, rectangular clay tablets roughly the size of a smartphone. Made by pressing a stylus, often reed or wood, into damp clay, these tablets were used to record contracts, legal and administrative matters and personal correspondence.

Sealed tablets survive to this day, whether abandoned long ago by their recipients or misplaced in the ancient world’s version of undeliverable mail. And while the envelopes containing legal and administrative documents are often inscribed with summaries of their contents, a sealed letter is a decidedly more private matter.

“You have only the name of the sender and the name of the recipient,” said Cécile Michel, a researcher who studies ancient Mesopotamia at the National Centre for Scientific Research in France and the University of Hamburg in Germany. “I would love to see what’s inside.”]]></description>
<dc:subject>cuneiform media_history material_texts mesopotamia media_archaeology envelopes containers</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:82f1913be19b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cuneiform"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_history"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:material_texts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:mesopotamia"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:media_archaeology"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:envelopes"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:containers"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/15/t-magazine/utopian-movements-shakers-civil-rights.html">
    <title>A History of American Utopia in 10 Acts - The New York Times</title>
    <dc:date>2026-06-30T02:08:38+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/15/t-magazine/utopian-movements-shakers-civil-rights.html</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Rethinking society requires imagination. Below are ten American movements from different eras of the country’s history and the defining works of art they produced.
]]></description>
<dc:subject>utopia shakers arts_crafts harlem_renaissance wpa activism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:314e6721c1ba/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:shakers"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:arts_crafts"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:harlem_renaissance"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wpa"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:activism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://lareviewofbooks.org/artist/beverly-buchanan-athens-ga-8-july-1995/">
    <title>Beverly Buchanan, Athens, GA, 8 July 1995 | Los Angeles Review of Books</title>
    <dc:date>2026-06-29T20:14:07+00:00</dc:date>
    <link>https://lareviewofbooks.org/artist/beverly-buchanan-athens-ga-8-july-1995/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Beverly Buchanan, Athens, GA, 8 July 1995 archives artist Judith McWillie’s experimental documentary on and exchange with artist Beverly Buchanan. McWillie brought her Sony camcorder to Buchanan’s home in Athens, Georgia and recorded a two-hour video of the two Southern artists’ encounter in July 1995 (as the title suggests). Edited by Mo Costello and Katz Tepper, the book mediates McWillie’s unedited document via video stills, annotations, and an edited transcription. Beverly Buchanan, Athens, GA, 8 July 1995 is published by Soberscove Press. 

Beverly Buchanan (1940–2015) was born in Fuquay, NC, and raised in Orangeburg, SC, on the campus of South Carolina State University, where her father served as dean of the School of Agriculture. She earned a bachelor’s of science from Bennett College, a master’s of science and master’s of public health from Columbia University, and took classes at the Art Students League before leaving the public health profession in 1977 to pursue art full-time. For much of her artistic career, Buchanan lived in Georgia—first in Macon from 1977–85, then Atlanta from 1985–87, and in Athens from 1987–2010 (split between Ann Arbor, MI and Athens from 2003–10). In her lifetime, Buchanan received major honors including a Guggenheim Fellowship, an NEA Fellowship, and the Anonymous Was a Woman Award, and her work is held in leading institutions such as the High Museum of Art, the Metropolitan Museum of Art, Studio Museum in Harlem, and the Whitney Museum of American Art. ]]></description>
<dc:subject>sclupture art beverly_buchanan</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4139ee5a3b0a/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:beverly_buchanan"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.newyorker.com/magazine/2026/06/22/jurgen-habermas-desperate-fight-for-democracy?_sp=9dacb2aa-e101-4383-acb9-7f8257ddba52.1782763887290">
    <title>Jürgen Habermas Defended Reason in a Darkening Age | The New Yorker</title>
    <dc:date>2026-06-29T20:13:14+00:00</dc:date>
    <link>https://www.newyorker.com/magazine/2026/06/22/jurgen-habermas-desperate-fight-for-democracy?_sp=9dacb2aa-e101-4383-acb9-7f8257ddba52.1782763887290</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Habermas sensed this: he was attempting to move past his discipline’s oracular tradition and encourage a new model of public deliberation, one in which the philosopher serves as mediator, interpreter, conciliator. At the heart of Habermas’s omnivorous, at times contradictory, body of work is an idea as simple as it is profound: in adopting the perspectives of others, we learn to become ourselves....

In his final book, Habermas spoke of the need to “institutionalize the anarchic power of saying ‘no.’ ” The force of refusal, of Melville’s “I would prefer not to,” is potentially absolute: slop ceases to exist when we stop clicking on it. Europe, where the Enlightenment first arose and where it met its first demise, is the likeliest place for a concerted rebellion. State funding for media and culture means that the public sphere remains partly intact, and the E.U. has taken steps to regulate the internet and A.I. Moreover, as Habermas saw at the time of the Iraq War, a pan-European sensibility is being bolstered by a cumulative loathing for a long century of American imperialism—military, economic, technological, cultural. Perhaps there could even be a real shudder of self-disgust on these shores—a recognition that our national pursuit of material happiness has immiserated much of the rest of the world and is now devouring itself. Such, at least, is the vibe of our squalid semiquincentennial summer.

Philosophy is a discipline of abstractions, yet it raises achingly elemental questions. The august Kant asks, “What can I know? What should I do? What can I hope for?” The answers are seldom simple or bright. The seduction of despair can be intense, whether on the personal or the political level. But the fact that most of our hopes remain unrealized should not revoke the reality of our fitful, painful progress. This was Habermas’s core conviction; he was an incrementalist, though a radical one. On the other hand, in his almost manic drive toward consensus, he blunted the edge of his critical inheritance. If we are to say no to the monstrosities that we have unleashed, we need the uncompromising fury that the Frankfurt School writers invested in their work. We need Adorno to tell us that the confusion of truth and lies “makes it a Sisyphean labor to hold on to the simplest piece of knowledge.” In the end, we need both voices: the critical and the reconstructive, the savage and the sage. The dialectic moves between crashing despair and hovering hope.]]></description>
<dc:subject>theory critical_theory habermas</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:1e79b206fa2c/</dc:identifier>
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</item>
<item rdf:about="https://www.nybooks.com/online/2026/06/26/resistance-choirs-raven-chacon/">
    <title>Resistance Choirs | Nate Wooley | The New York Review of Books</title>
    <dc:date>2026-06-28T23:02:37+00:00</dc:date>
    <link>https://www.nybooks.com/online/2026/06/26/resistance-choirs-raven-chacon/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Aviary plays with two sources of birdsong. The first is field recordings of birds that can still be heard in the area, culled from the Audubon Society archives, a nod to the land’s most famous previous owner. The other is a kind of ghost music: recordings of Chacon mimicking the songs of now-extinct birds using instruments he built from materials salvaged from near his home in upstate New York, including bits of rubber tubing, a bellows, and what looks like a small clay pigeon. Played on a loop, the resulting forty-minute piece sounds like a transmission from an alternate universe in which global avian extinction and Indigenous displacement in the Penadnic didn’t occur, an imaginary space where passenger pigeons still sing and the Lenape still hunt...

Chacon’s work could be separated into three broad categories: experiments with nonmusical sound (“noise”), installations or site-specific pieces that combine musical and visual elements, and “traditional” chamber music. The division helps suggest the formal breadth of his output, but in practice things aren’t so clear-cut. Chacon might use Western chamber-music notation to prod violins and flutes into making pure noise, just as he might treat an extinct bird’s call played on an invented instrument as a woodwind solo....

uch of the recent writing about Chacon has rightfully foregrounded his critique of America’s colonial history and its abuses against Indigenous people. This project is central to Chacon’s thinking, but the methods, techniques, and materials he chooses to pursue it connect him with a wider range of American musical mavericks than critics often acknowledge. His oeuvre has echoes of the microtonal hobo ballads of the instrument-builder and theorist Harry Partch, the “Deep Listening” epiphanies that Pauline Oliveros found with her accordion in the bottom of a Houston cistern, and the vibrant painted scores that Wadada Leo Smith uses to entwine the improvisational spirit of jazz with non-Western musical traditions....

Chacon’s recording is in this sense a moment of “silence,” but it takes us beyond the concert hall that served as the setting for John Cage’s famous “silent piece,” 4’33”. It imbues the quiet with a palpable feeling of potential action, blood and grit, dirt and land. Where Cage’s chamber work is conceptual and potentially light, Chacon’s is thick with emotion and defiance. It makes the listener rethink the sound of “nothing” not just as a theoretical exercise but as an active confrontation. ]]></description>
<dc:subject>indigenous sound_art birds aviary silence cage</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:d55234fc6e04/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:birds"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:aviary"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:silence"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cage"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://email.nybooks.com/t/y-e-fljlhn-vdrdtyhy-z/">
    <title>NYRB Interview w/ Clare Bucknell</title>
    <dc:date>2026-06-27T22:41:45+00:00</dc:date>
    <link>https://email.nybooks.com/t/y-e-fljlhn-vdrdtyhy-z/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The more I read and look, the less the disciplinary divide between literature and visual culture makes sense to me. I think art historians should be let loose on novels and literary critics on paintings, it would do a lot of good. Especially when it comes to the eighteenth century, the great age of ut pictura poesis. Take Hogarth, whose moral series seem to me to be exploring how storytelling works through metaphors of paths and journeys. Or Henry Fuseli’s marvellous reimaginings of scenes from Paradise Lost and Macbeth, which somehow squeeze narrative’s prerogative of temporality—the before, the now, the after—into painting’s single “all at once” moment.  

It helps that I was trained to read literary texts, poems in particular, in a way that was formal to the point of being visual. Still now, when I read a poem for the first time, I’ll read it sideways and backwards and across itself as well as forwards—looking for repetitions and mirrorings, line endings that double back on themselves, little moves that are multidirectional and somehow three-dimensional. It’s how I’ve learned to read pictures and understand the way that formal elements interact and passages of paint can rhyme or repeat. And it’s a beginning: I have a lot more learning to do.]]></description>
<dc:subject>criticism cross_criticism</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:ffb43dcd7c09/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:cross_criticism"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.nytimes.com/2026/06/27/arts/library-of-things.html?unlocked_article_code=1.tVA.hb_v._LJhAknd_dYZ&amp;smid=url-share">
    <title>Come for the Books, Stay for the Power Tools - The New York Times</title>
    <dc:date>2026-06-27T22:39:43+00:00</dc:date>
    <link>https://www.nytimes.com/2026/06/27/arts/library-of-things.html?unlocked_article_code=1.tVA.hb_v._LJhAknd_dYZ&amp;smid=url-share</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In downtown Dallas, teenagers ride the elevator to the seventh floor of the public library to try on prom dresses. In suburban Denver, ghost hunters borrow electromagnetic field detectors to conduct paranormal investigations. On Cape Cod, in Massachusetts, mushroom foragers check out mesh bags and field guides before heading out to search for edible fungi.

As of 2024, there were more than 2,000 examples of places around the world where patrons have access to objects that might otherwise sit unused in a closet, garage or on a store shelf.

The idea has roots stretching back to World War II-era tool-lending libraries. But researchers say the movement gained momentum after the Great Recession in 2008, when many Americans began questioning whether they needed to own items they used only occasionally. “It’s a reclamation of the commons,” said Shannon Mattern, an author and former professor who studies libraries and public infrastructure.]]></description>
<dc:subject>my_work alternative_libraries little_libraries library_of_things</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:93103defb911/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:my_work"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:little_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_of_things"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.thepublicrad.io/?ref=scopeofwork.net">
    <title>The Public Radio.</title>
    <dc:date>2026-06-27T14:13:44+00:00</dc:date>
    <link>https://www.thepublicrad.io/?ref=scopeofwork.net</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The Public Radio is a single station FM radio housed in the simplest enclosure we could find: a mason jar. It's a totally uncomplicated device - just an antenna and a volume knob - and will bring calm and consistency to your daily routine.

The Public Radio is proudly assembled in the USA. Order yours today and our Massachusetts based team will hand assemble and tune your radio to your favorite local FM station.]]></description>
<dc:subject>radio minimal_computing things</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:7dabffe79509/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:radio"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:minimal_computing"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:things"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.sergehillproject.co.uk/the-plant-library">
    <title>The Plant Library | The Serge Hill Project</title>
    <dc:date>2026-06-27T14:10:54+00:00</dc:date>
    <link>https://www.sergehillproject.co.uk/the-plant-library</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Alongside vegetable plots and beds for therapeutic gardening, a large proportion of the orchard site is made up of The Plant Library which is set out in a grid system and includes more than 2000 varieties of herbaceous plants and low shrubs plus 500 different bulbs.

Managed by Tom Stuart-Smith Studio’s Head Gardener and funded by Tom Stuart-Smith Ltd, The Plant Library is a unique collection and an educational resource for anyone interested in plants and design. Under the guidance of Head Gardener Millie Souter and assisted by the Serge Hill Project Rockcliffe Gardening Scholar, Emma Youngman, the plants are cared for by a team of wonderful volunteers. The plots are constantly edited, with the intention of forming a collection of plants that are both beautiful and useful to gardeners and designers, as well as being of benefit to schools and community groups who visit the Serge Hill Project.]]></description>
<dc:subject>libraries library_field alternative_libraries plants herbarium garden</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4f600ac6995b/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:library_field"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:alternative_libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:plants"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:herbarium"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:garden"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.west.is/en/service/library-of-water">
    <title>Library of Water | West Iceland</title>
    <dc:date>2026-06-27T14:09:17+00:00</dc:date>
    <link>https://www.west.is/en/service/library-of-water</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Vatnasafn / Library of water is a long-term project conceived by Roni Horn for a former library in the coastal town of Stykkishólmur in Iceland. The building stands on a promontory overlooking the ocean and the town, and houses an exhibition which reflect Roni Horn’s intimate involvement with the singular geography, geology, climate and culture of Iceland...

Water, Selected is a constellation of 24 glass columns containing water collected from ice from some of the major glaciers around Iceland. The glass columns refract and reflect the light onto a rubber floor embedded with a field of words in Icelandic and English which relate to the weather – inside or outside. The sculpture installation offers a space for private reflection whilst accommodating a wide variety of community uses.

In a small side room, visitors can look at Roni Horn’s ongoing series of books made in Iceland, To Place and listen to a selection of people talking about the weather. Through 2005 and 2006, at the instigation of Horn, writer Oddny Eir Ævarsdóttir, her brother archaeologist Uggi Ævarsson and their father, radio broadcaster Ævar Kjartansson interviewed around a hundred individuals from Stykkishólmur and the surrounding area about the weather. Weather Reports You presents these spoken testimonies as a collective self-portrait of a country where the weather is strongly present in everyday life.]]></description>
<dc:subject>libraries geoarchives water</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:fb6c12f0d430/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:libraries"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:geoarchives"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:water"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.theparisreview.org/blog/2026/06/24/taiwan-english/?mc_cid=25e3545cdc&amp;mc_eid=2827fdd6e9">
    <title>Taiwan English by Tao Lin</title>
    <dc:date>2026-06-27T02:21:05+00:00</dc:date>
    <link>https://www.theparisreview.org/blog/2026/06/24/taiwan-english/?mc_cid=25e3545cdc&amp;mc_eid=2827fdd6e9</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Graphic designers and proofreaders—and the businesses and governments they work for—usually succeed at eliminating errors in the text of signs, shirts, and ads. In Taiwan, the normal standards seem relaxed for the English-language portions.

I’m not sure why Taiwan has so much English—maybe due to optimism regarding tourism and business. Whatever the reason, it has resulted in widespread error-ridden, idiosyncratic, and unintentionally poetic English in public typography.]]></description>
<dc:subject>signs translation error china</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:28d81c529e50/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:signs"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:translation"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:error"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:china"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.chronogram.com/arts/incorrigibles-incarcerated-girls-new-york-exhibit-ann-street-gallery-15778318/">
    <title>&quot;Incorrigibles: Bearing Witness to the Incarcerated Girls of New York” at Ann Street Gallery</title>
    <dc:date>2026-06-27T01:45:23+00:00</dc:date>
    <link>https://www.chronogram.com/arts/incorrigibles-incarcerated-girls-new-york-exhibit-ann-street-gallery-15778318/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Founded in 1904, the Training School housed girls ranging in age from 12 to 18. Some were remanded for extremely minor offenses, such as playing hooky or running away from home. The average stay at the Training School was two years. Examining the records shows that many girls were victims of sexual or physical abuse before they arrived. They were often described by a judge as “incorrigible”—meaning “incapable of being corrected.” The term creates a paradox; why attempt to “correct” someone who’s beyond hope? (Governor Cuomo signed a bill in 2021 removing the word from the Family Court Act.) Photographs of “incorrigibles” from the 1920s show young, dreaming faces—and long dresses.

One of the inmates was 15-year-old Ella Fitzgerald, described by the court as “ungovernable…will not obey the just and lawful commands of her mother.” At the Training School, Fitzgerald lived in segregated housing, and was forbidden to sing in the choir because she was Black. She never spoke of her experience at Hudson, and when invited back by a later superintendent to speak to the girls, refused.]]></description>
<dc:subject>incarceration hudson upstate girls</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:dceecd669cbb/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:incarceration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:hudson"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:girls"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://incorrigibles.org/">
    <title>Incorrigibles</title>
    <dc:date>2026-06-27T01:44:45+00:00</dc:date>
    <link>https://incorrigibles.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[About Incorrigibles
Incorrigibles is a transmedia project that tells the stories of ‘incorrigible’ girls in the United States over the last 100 years - beginning with New York State. Drawing on the personal narratives of young women in “the system”, the work investigates the history and present state of juvenile justice and social services for girls. We have been researching archival documents from the New York State Training School for Girls (1904-1975); recording and sharing accounts of women alive today who were confined there; and organizing community engagement events to encourage critical analysis around youth detention and behavioral intervention today.]]></description>
<dc:subject>girls incarceration upstate</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:a621b7f976a1/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:girls"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:incarceration"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.alisoncornyn.com/incorrigible/r51v3mkdzmolp9j3jccabazu75afqp">
    <title>Incorrigibles - Alison Cornyn</title>
    <dc:date>2026-06-27T01:43:44+00:00</dc:date>
    <link>https://www.alisoncornyn.com/incorrigible/r51v3mkdzmolp9j3jccabazu75afqp</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Incorrigibles: Bearing Witness to the Incarcerated Girls of New York Exhibition at the Brooklyn Federal Courthouse Charles P. Sifton Gallery.
[From left to right] Dazzle, Jewell, Sarah, Pigmented ink on archival paper.

Incorrigibles is a transmedia project that tells the stories of ‘incorrigible’ girls in New York State over the last 100 years. Drawing on the personal narratives of incarcerated young women, the work investigates juvenile justice and social services for young women, and takes form as a book, exhibition, and web platform.]]></description>
<dc:subject>upstate incarceration</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9c7f12b33058/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:upstate"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:incarceration"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://art21.org/watch/art-in-the-twenty-first-century/s12/lenka-clayton-in-human-nature/">
    <title>Lenka Clayton in “Human Nature” | Art21</title>
    <dc:date>2026-06-26T14:27:32+00:00</dc:date>
    <link>https://art21.org/watch/art-in-the-twenty-first-century/s12/lenka-clayton-in-human-nature/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The sound of striking keys echoes as artist Lenka Clayton improvises a drawing of a vase on a typewriter. This practice exemplifies her uniquely playful approach that runs through her video, sculpture, and public artworks. “Looking at things that are supposed to behave a certain way and purposefully misunderstanding how they should be used, it’s really important to me,” says Clayton. This documentary short tracks the artist as she transforms unexpected objects and encounters into art, whether it is creating new works using the experience of motherhood as a material or building a lighthouse hundreds of miles from the nearest ocean. Collaborating with her husband, artist Phillip Andrew Lewis, her children, and the members of her community in Pittsburgh’s Troy Hill neighborhood, Clayton uses art to highlight the beauty of human connection and the everyday.]]></description>
<dc:subject>typewriter kites play arrt misuse scale tools measurement motherhood windows window_display</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:073116102629/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:typewriter"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:play"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:arrt"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:misuse"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:scale"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:tools"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:measurement"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:motherhood"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:windows"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:window_display"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.lenkaclayton.com/work">
    <title>WORK — LENKA CLAYTON</title>
    <dc:date>2026-06-26T14:19:22+00:00</dc:date>
    <link>https://www.lenkaclayton.com/work</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>kites air wind trash rocks waste assemblage weather</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:500cfc46d274/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:air"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wind"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:trash"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:rocks"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:waste"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:assemblage"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:weather"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://laurelschwulst.com/e/how-to-build-a-bird-kite/">
    <title>How to Build a Bird Kite | Laurel Schwulst</title>
    <dc:date>2026-06-26T14:18:34+00:00</dc:date>
    <link>https://laurelschwulst.com/e/how-to-build-a-bird-kite/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Craft tutorial and meditation on how to build a kite in interactive story format for The New York Times.

It’s part pragmatic how to and part meanderings on “the wind.” The format is an “interactive story” — you can click through the steps to get the essential information. Or let the whole tutorial play, and it’s a 46 minute film of creating a kite in real-time. Special thanks to Tracy Ma, Natalie Shutler, Austin Wade Smith, Elliott Cost, and Meg Miller.]]></description>
<dc:subject>kites air craft wind</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:2dcf7d40663f/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:air"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:craft"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:wind"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://publicdomainreview.org/collection/art-of-kite-flying/">
    <title>The Art of Kite Flying (1430–1929) — The Public Domain Review</title>
    <dc:date>2026-06-26T14:15:54+00:00</dc:date>
    <link>https://publicdomainreview.org/collection/art-of-kite-flying/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Their capacity for flight is magical, almost animate, reflected in the names by which they are known around the world. In Greek, they are χαρταετοί, paper eagles, and the Germans call them Drachen, dragons. French children float flying stags (cerf-volant) above the earth — although “cerf”, here, is likely a corruption of the Occitan serp, snake — and in Russian, too, they are serpents of the air, воздушные змеи. Other languages reach beyond the animal world. Spanish speakers describe them as comets, cometas; Mandarin remembers when the flying forms were affixed with bamboo flutes, like airborne Aeolian harps — fēngzhēng, “wind zithers”, known elsewhere as “wind psalteries” — while the Japanese kanji 凧 combines a radical connected to wind with an element meaning towel or cloth. In English, they are simply kites, named for the bird of prey, from the old English cyta — thought to be onomatopoetic imitation of its sharp-edged call.]]></description>
<dc:subject>kites air flight</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:14469285b6d9/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:air"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:flight"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.youtube.com/watch?v=bW6DM79o1zs">
    <title>Brian Eno, Kites I</title>
    <dc:date>2026-06-26T14:15:15+00:00</dc:date>
    <link>https://www.youtube.com/watch?v=bW6DM79o1zs</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>kites sound air</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:4ba2e83fa125/</dc:identifier>
<taxo:topics><rdf:Bag>	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:kites"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:sound"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:air"/>
</rdf:Bag></taxo:topics>
</item>
<item rdf:about="https://www.journals.uchicago.edu/doi/10.1086/741260">
    <title>Paratactic Boundaries | Critical Inquiry: Vol 52, No 4</title>
    <dc:date>2026-06-26T14:04:55+00:00</dc:date>
    <link>https://www.journals.uchicago.edu/doi/10.1086/741260</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[This article examines the oldest extant purpose-built boundary stone in the medieval west, the so-called Guthlac Stone. Taking up Erich Auerbach’s arguments about the rise of medieval parataxis, which modulated a stylistic feature into an ethical judgment about the postimperial conditions of historical fragmentation, I argue that the reappearance of the boundary stone as a distinctive object signaled a sculptural investment in coercively shaping space. Alluding to earlier modes of English commemorative sculpture that construed the body’s marker as a shining sign, twelfth-century bounding objects were devices for producing relations of subordination to a prominent center. Inspecting their formal and figurative aspects thus yields a picture of territorial division that departed radically from inherited classical notions of divisible, gridded space. The payoff is threefold: a new understanding of how boundary markers reemerged in the West, an account of the place-making work of sculpture that sees place as an effect—rather than a precondition—of the object, and a refinement of Auerbach’s formalism.]]></description>
<dc:subject>borders rocks boundary_stones cartography</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:96156dd29973/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:boundary_stones"/>
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<item rdf:about="https://www.wronganswer.ca/shop/robert-filliou-hand-show-presentation-copy-to-jackson-mac-low?ss_source=sscampaigns&amp;ss_campaign_id=6a3da4d7e52ee46a3d9e4765&amp;ss_email_id=6a3da74cd15b36798b099b3c&amp;ss_campaign_name=Wrong+Answer+-+Product+Update&amp;ss_campaign_sent_date=2026-06-25T22%3A10%3A30Z">
    <title>Robert Filliou - Hand Show (presentation copy to Jackson Mac Low) — Wrong Answer</title>
    <dc:date>2026-06-26T01:29:10+00:00</dc:date>
    <link>https://www.wronganswer.ca/shop/robert-filliou-hand-show-presentation-copy-to-jackson-mac-low?ss_source=sscampaigns&amp;ss_campaign_id=6a3da4d7e52ee46a3d9e4765&amp;ss_email_id=6a3da74cd15b36798b099b3c&amp;ss_campaign_name=Wrong+Answer+-+Product+Update&amp;ss_campaign_sent_date=2026-06-25T22%3A10%3A30Z</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[An exceptional copy of a very rare and significant work by Robert Filliou that was produced in a limited edition of just 150 signed and numbered copies in 1967.

The work consists of 24 prints of artists’ handprints housed in a custom wooden box with sliding plexiglass cover along with a sheet outlining the details of the project. 

Andy Warhol, who participated in the project, arranged for the work to be first shown in the display windows of Tiffany’s on Fifth Avenue here in New York City. The choice to show the work not in a gallery but a luxury department store is indicative of both Pop Art and Fluxus’ practice of connecting art with popular culture.

T‍his specific copy belonged to poet, performance artist, and one of the founding members of Fluxus, Jackson Mac Low, who participated in the project. A signed letter addressed to Mac Low from the publisher accompanies this copy.]]></description>
<dc:subject>hands boxes fluxus artists_book multiples</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:02f6f7041b85/</dc:identifier>
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<item rdf:about="https://www.frieze.com/article/medina-triennial-all-that-sustains-us-2026-review">
    <title>The Inaugural Medina Triennial: A Thoughtful Show With an Identity Crisis | Frieze</title>
    <dc:date>2026-06-26T01:27:36+00:00</dc:date>
    <link>https://www.frieze.com/article/medina-triennial-all-that-sustains-us-2026-review</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[With the exception of these works and Anne Duk Hee Jordan’s sculpture I travelled 66 million years to be with you and then you came (2025), a short walk along the Empire State Trail towards the rushing Medina Falls, the triennial brings visitors into town, away from the canal. Only one project engages with the waterfall: an opening weekend performance by the collective Futurefarmers, in which participants walked there while meditating on a local legend involving a child who jumped into the canal to swim, only to become lodged inside a hollow cow carcass. The performance was transformative, making visitors participants in the passage of this cross-generational story and acting as a reminder of the memories that nature can hold. The objects used in the performance make up 48 Encounters, Erie Canal (2026), installed inside the Hub, one of the triennial’s sites.

While the curators admitted during the opening walkthrough they had hoped to do more with outdoor locations, it does feel like a missed opportunity that so few pieces interact with the region-defining canal and waterfall. The main exhibition, by contrast, is robust, telling stories of hypothetical climate futures, as in Alice Bucknell’s science fiction video installation Staring at the Sun (2024–25), and underscoring interspecies connections and non-human artists, as in Aki Inomata’s series of sculptures based on wood chewed by beavers and beetles (‘How to Carve a Sculpture’, 2018–ongoing). ]]></description>
<dc:subject>maintenance infrastructure infrastructure_art biennial erie_canal</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:eb7be42753dd/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:infrastructure_art"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:biennial"/>
	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:erie_canal"/>
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</item>
<item rdf:about="https://tang.skidmore.edu/exhibitions/751-sheila-pepe-when-where-we-rest">
    <title>Sheila Pepe: When &amp; Where We Rest - Tang Teaching Museum</title>
    <dc:date>2026-06-26T01:05:46+00:00</dc:date>
    <link>https://tang.skidmore.edu/exhibitions/751-sheila-pepe-when-where-we-rest</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Everyone rests in one way or another. But what does rest look and feel like—inside each of us and to the outside world around us? Must we steal moments to be able to rest, and when we do so, what parts of our bodies or minds are still active? Do we rest too much or too little? And who decides what’s enough or too much? These questions are universal, but the answers are as individual as each of us.

These questions and many more are at the heart of Sheila Pepe’s new immersive installation on the Tang Museum’s mezzanine. Drawing on Pepe’s ongoing interest in the material culture of religion, sociology, queer theory, ancient Greece and Rome, and the Silk Road, When & Where We Rest presents the objects that support our bodies during contemplation, ritual, and sleep. The installation is furnished for visitors to gather as individuals or groups, providing space for both rest and discourse. An exploration of the meanings and implications of rest in the past, present, and future, the project invites us to consider rest’s complexity, subjectivity, and multiplicity—and the rest is up to you.

A key element of the installation is a broadsheet that serves as both a takeaway for visitors and as a visual element of the exhibition, wheat-pasted to the wall. The broadsheet’s recto provides an overview of the exhibition, while the verso is dedicated to exploring ways of thinking about sleep. Excerpts from Sappho, Walt Whitman, and Salman Rushdie are reflected on and responded to by fellow poets and writers April Bernard, Peg Boyers, Selby Wynn Schwartz, Aliza Wong, Moe Angelos, and Raffaela Silvestri. ]]></description>
<dc:subject>rest sleep furniture intellectual_furnishings</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f80c2098b200/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:furniture"/>
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</item>
<item rdf:about="https://tang.skidmore.edu/exhibitions/791-designing-power-the-black-panther-party">
    <title>Designing Power: The Black Panther Party - Tang Teaching Museum</title>
    <dc:date>2026-06-26T01:05:26+00:00</dc:date>
    <link>https://tang.skidmore.edu/exhibitions/791-designing-power-the-black-panther-party</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Designing Power: The Black Panther Party examines how the Party forged an iconic revolutionary image through intentionally-crafted aesthetics. The Black Panther Party rose to prominence in the 1960s and 1970s as a legendary organization, instrumental in defining Black Power. By employing evocative symbols such as their striking logo, combined with potent language, the Party reflected their ideas in an accessible and eye-catching way that captured global attention and cultivated a large and devoted community. From their style of hair and dress, to the graphic design of their flyers and newspapers, to the way they portrayed themselves in artwork, all the materials the Party produced reflected their ideals of Black Power, self-sufficiency, and community support. ]]></description>
<dc:subject>blackness black_power activism graphic_design</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:f7246cfdb14c/</dc:identifier>
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<item rdf:about="https://tang.skidmore.edu/exhibitions/790-elevator-music-54-hanna-tuulikki-spinning-in-stereo">
    <title>Elevator Music 54: Hanna Tuulikki—spinning-in-stereo - Tang Teaching Museum</title>
    <dc:date>2026-06-26T01:01:43+00:00</dc:date>
    <link>https://tang.skidmore.edu/exhibitions/790-elevator-music-54-hanna-tuulikki-spinning-in-stereo</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Textile production is an inherently collaborative process, requiring many hands to gather wool, spin yarn, and weave fabric. In Scotland, where sound artist and composer Hanna Tuulikki lives, these tasks were historically performed by women, who used music to mark time and build comradery during their repetitive, labor-intensive work. Tuulikki’s spinning-in-stereo transforms a traditional Gaelic spinning song into a composition for two voices sung in the round. The core melody repeats in a hypnotic loop, spiraling from slow, low tones up to a rippling crescendo of soprano vocalizations and back down again. With its intertwined female voices, the piece encourages us to consider how the rhythms of the past echo into the present. ]]></description>
<dc:subject>spinning weaving sound labor song</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:9c663bc0e8ca/</dc:identifier>
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	<rdf:li rdf:resource="https://pinboard.in/u:shannon_mattern/t:weaving"/>
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</item>
<item rdf:about="https://www.vanguardarchivesconsulting.com/founder">
    <title>Founder | Vanguard Archives Consulting</title>
    <dc:date>2026-06-25T15:43:33+00:00</dc:date>
    <link>https://www.vanguardarchivesconsulting.com/founder</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Jessica C. Neal (Jes) — she/they — is a millennial creative, archivist, and Black memory worker based in Mobile, AL.  Informed by the frameworks of Black studies, Black feminist theory, decolonial theory, and critical archival studies, her work seeks to investigate, interrogate, imagine and document practices of liberation, heritage, and culture. 

 

As a person and professional, Jes is deeply invested in serving as an ally and collaborator within global marginalized communities to create more equity in who gets historicized and to implement post-custodial archival models. Recognizing storytelling and the resources to self-document are crucial to intergenerational communication, evidence of existence, and authentic legacy-making, her long-term focus is her work in community, personal, family, and organizational archives that document Black cultural production–-especially in the arts, literary, and social movements.

 

Through Vanguard, her current project roster includes serving as archival consultant for the Diaspora Solidarities Lab, Cave Canem, Kundiman, the Hoboken’s History of Gentrification and Arson for Profit project and Carnegie Museum of Art. Most recently Jes wrapped up her role as the project scholar for the Western Pennsylvania Disability History & Action Consortium's Mellon-funded Intersection of Race and Disability Project, and has led a host of archival projects for private clients. Outside her Vanguard work, Jes is also project archivist for the National Historical Publications and Records Commission funded Company 1433 Project. Through community partnerships and archival research, Jes’s efforts to document the all-Black unit of the Civilian Conservation Corp that helped to develop the Okefenokee National Wildlife Refuge will result in a digital archive to be housed within the Digital Library of Georgia system. 

 

Jes recently completed her tenure as Records Management Project Manager at Massachusetts Institute of Technology, where she had supported operations and spearheaded new RIM policy development since 2020. Previously, they served as curator and archivist for the Sterling A. Brown collection at Williams College, and, as a result, curated the REVELATIONS exhibition in fall 2022, alongside the symposium, “The Life and Lore of Sterling A. Brown: Celebrating Poetry, Prose, and Music.” She has partnered with The Gates Preserve as an archivist and oral history consultant. Through this partnership, she contributed to the Lo Life digital archive project, which debuted summer 2022. In 2021, Jes collaboratively curated the exhibition, “Uncommon Threads: The Works of Ruth E. Carter” at New Bedford Art Museum, highlighting the Oscar award winning costume designer’s work spanning her career from Spike Lee’s Do the Right Thing to Ryan Coogler’s first Black Panther movie.]]></description>
<dc:subject>archives blackness race</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:adc3debdb920/</dc:identifier>
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<item rdf:about="https://hammerandhope.org/forums/greg-tate-legacy">
    <title>Greg Tate Changed the Game</title>
    <dc:date>2026-06-24T21:50:16+00:00</dc:date>
    <link>https://hammerandhope.org/forums/greg-tate-legacy</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[What bound them wasn’t genre but method: mutation, refusal of stasis, distortion as liberation, critique as cultural warfare. Tate synthesizes that constellation into a writing style that sounds like the future remembering the past.

To read Tate as a “hip-hop writer” is to miss that hip-hop, for him, was one frequency in a much larger Black avant-garde cosmology. Tate was omnivorous in his references — not name-dropping but world-building, pulling sound, theory, memory, and myth into the same frame. These weren’t references. They were operating systems. His prose bent time, stacked registers, and refused clean translation because he understood Black expression as inherently syncretic, always future-facing.]]></description>
<dc:subject>criticism music writing</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
<dc:identifier>https://pinboard.in/u:shannon_mattern/b:545c5e2ab463/</dc:identifier>
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