Jen Bervin: Artist as Researcher de Make/Time
"Jen Bervin’s interdisciplinary work often combines art, science and writing. One recent project is Silk Poems, a poem written nanoscale in the form of a silk biosensor in collaboration with Tufts University’s Silk Lab, and also published as a book. Another project, The Dickinson Composite Series, is a series of large-scale embroideries that depict the variant markings in Emily Dickinson’s original manuscripts. Jen's work as a poet and visual artist takes her in surprising directions. She says, “I love research because I don’t know what I’ll find.”

Make/Time shares conversations about craft, inspiration, and the creative process. Listen to leading makers and thinkers talk about where they came from, what they're making, and where they're going next. Make/Time is hosted by Stuart Kestenbaum and is a project of craftschools.us. Major funding is provided by the Windgate Charitable Foundation."

[via:

"I love @jenbervin's work. @tchoi8, if you don't know about it already, you should :)
via https://twitter.com/jenbervin/status/920512592409513984"
https://twitter.com/shannonmattern/status/920517416211419136 ]
jenbervin  art  research  interdisciplinary  science  2017  poetry  making  drawing  creating  artists  silk  writing  tolisten 
yesterday
my friend pokey — futures market
"(ed. note: stephen died while writing this, may his sinful heart now rest in peace)

I think that every work implies an audience, i think that projected audience will be perpetually dreamlike and strange since it’s drawn not from human consciousness but from a form of same which has been distorted through embodiment in alien material. Refracted by some “medium” and then existing as a transferable, reproducible object and living an object life separable from the human circumstances by which it was produced. And I think that when we evaluate a work part of what we evaluate is this audience and the prospect of belonging to it, the possibility of a community with those assumptions and those values. The saying “give people what they want” always confuses me in this context because surely part of what they want is the possibility of wanting something else, of being a person who wants something else. Advertisements famously sell not just a product but also the prospect of being the kind of person who likes that product. Even the most conservative works pull a bait and switch in this regards in that part of what they suggest is the prospect of being a person who already knows what they want, of having character and qualities that persist in time rather than being a shapeless blob of experiences.

Avant-garde work could be said to be that which prioritises the formation of new audiences, or the possibility of forming new audiences, above any actual qualities which those audiences would have. It draws on the utopian aspect of creating new social structures, new communities, where whatever form they ultimately end up taking the fact that they can be made at all is in some way a celebration of agency and the possibility of new futures. But the other side of things is that even as the appeal of these imaginary communities comes partly from their distance from our real ones, they’re also evaluated on the basis of their feasibility - their power comes not just from a list of bloodless alternities but from possessing a transformative quality, the real possibility of enactment which is used to make demands on the contemporary. Not just a future but one already germinating in the present. And though I like and respect a lot of these works it’s also hard, for this reason, not to feel a little uneasy about them - because the imagery of an imminent, transfigurative break from the present has been so co-opted as a way to conceal the fundamental limitations and eerie inertia of capitalism that I think it’s hard for anything drawing on that tradition to escape lending credibility to it, even when its interests are directly opposed. 20+ years of an increasingly threadbare neoliberal consensus in the face of problems which grow more and more obvious mean the notion of an unexpected, miraculous shift in the causal order grows more and more central, from the vague sense that someone will invent, like, a moss or something which will stop global warming in the nick of time to the idea that the same clumsy, stupid videogames we’ve been bonking against invisible walls in for decades now will any minute now transmogrify into the effortless freefloating virtual lucid dreams of legend. And in fact videogames provide a constant running example of just how profitably this perception can be managed - - from a medium which from inception built upon a certain futuristic quality coming both from the historically new level of consumer access to computer technology and from decades of science-fiction representations of same, and which leveraged that into a perennial suggestion that the bright new day was always just around the corner - that by playing videogames now you were securing a kind of early-investor bragging rights to the media singularity to come. If there’s anything historically new about videogames it’s the extent to which the very suggestion of potential developments to be had later on was finally recognised as more profitable than any intrinsic qualities of the form itself.

And I think all this raises some problems when we think about avant-garde and experimental videogames, not just because in replicating some of the assumptions of the industry they risk being assimilated by it - you can’t game-design your way out of late capitalism, there are no final aesthetic solutions to economic problems etc - but because by repeating those assumptions they risk being judged by the standard of contribution to this same monolithic vidcon future, and then discarded accordingly when “the future” changes according to stockholder diktats. I mean that when you see these works as yet more expressions of “the medium” it’s harder for them to survive when that status is taken away again, and that at this point it’s difficult to conceive of a future of videogames that doesn’t in some way just flow back into the orthodox one still being sold.

Why does this matter. I think the videogame market will crash again because that’s what markets do, and when it does I believe it’ll be blamed on small engines, on unity and rpgmaker, on asset-flipping and joke simulators and walking games and political games rather than e.g. the incessant boom-bust cycles of capitalism or the fact that the particular interactive media singularity that videogames have invested so much image, money and energy into identifying themselves with looks more and more dated and less likely to happen. I think there’ll be more gamergate bullshit from people who invested in the stupid, stupid videogame dream and got told by youtube millionaires that it was being undermined from within by sjw fifth columnists making pug dating games. I think that just as places like YouTube have shown a willingness to quietly cut down on who’s able to make money through their service places like Steam will do the same thing, particularly after already raising the prospect of exponentially increasing the cost of using the store for small developers already. I think middlebrow columnists at the Atlantic will cash checks saying well, a lot of those games weren’t pushing the medium forward anyway, and that the whole thing will end up being recast as a morality tale about an overcrowded, overdiverse market, and that a lot of valuable work people are doing now will be just wiped from the record in the same way as a lot of pre-2007 indie games were, or flash games, or interactive CD-ROMs, or whatever the fuck.

I think that when this happens experimental games or avant garde games or alternative games will be seen less as possible alternatives to the mainstream tradition than as offshoots of it which got pruned, and I’m not sure how much help they will really be to anyone trying to figure out ways to make these things without getting pulled into the endless churning blood rotor of existing videogame culture.

I’ve written before that the game scenes which interest and excite me most are things like FNAF fangames, Undertale fangames, Unity horror games, RPG Maker games, hyperspecific utility pieces like the Prosperity Path orbs, less for any particular aesthetic or design qualities than for them being videogames which manage to escape some of the awful binary of Producer/Consumer and the ideas of “importance” which evolve later to help justify that perverse dynamic. Like what does it mean to experience a game if it’s just part of a big stack of almost interchangeable things and anyway you’re only absently going through it when searching for more stuff to steal for your own interchangeable thing. Which is healthier and more interesting than “art”. But I think part of it too is the sense of having a specific audience to bounce against, even if it’s just of people looking to take your Secret Of Mana midis, and the way that the concreteness of that audience helps defuse the kind of creeping tendency towards cultural speculation that comes with the belief in a big medium-wide payout somewhere down the line that’d justify the time and energies of everyone involved. I don’t think it’s enough to say people should make an effort to criticise games for what they are as opposed to what they might be, or whatever, insofar as that’s even possible. I think being able to appreciate what they are is dependent on recognizing that they have an audience which is similarly settled, similarly “just there”. And I think working towards constructing that kind of space would mean, yes, a sort of concession of “the future” to the stockholders of industry, renouncing the right to eventually reap that dread crop. But in the process being able to better engage with the present and all the disparite forces and strands within it who have similarly been lopped off that grand narrative, or were never part of it to begin with, and navigate all the ambiguities and potentials of that space. I think the future of videogames is the same kind of desperate, self-willed dream as those years worth of Twitter shares, for a company which has never actually been profitable, or the horrible locked-down image of infinity that sees new Rocket Racoon movies coming out every year til 2099, I think those dreams are ones that emerge and grow stronger as the actual basis for them either materially or affectively grows ever more decrepit, I think however overwhelming they get they can only really be strangled in the present.

As they say… no futur-what! what are you doing in my house! no-aieee!! (manuscript abruptly cuts off)"
via:tealtan  videogames  capitalism  avantgarde  audience  audiences  potential  invention  utopia  games  gaming  media  neoliberalism  2017  possibility  transcontextualism  alternative  art  future  markets  economics  alternities  transformation  change  fandom  agency  moss 
yesterday
How to Learn Stuff | vextro
"My understanding of a workable, comprehensive goal for education, is something that meets and facilities the needs of students. This has to go beyond surmised vocational preparation. Needs is a semantic to soften the core of education: teaching students survival skills. It’s an obvious mistake to treat kids and students like organic computers for information to be punched into. To condescend is to lose their humanity.

What I mean is, how useful will these menus and tables of arranged factoids be under economic collapse? Or maybe our future is positive: how useful will they be under automation? If the signs can be seen it feels imperative that, in whatever way possible, mentors prepare their mentees for times of crisis. And I think the most crucial element of that is reaffirming their value as a person and an individual, by encouraging and thinking through their perspectives as a collaborative effort. Though not to complicate this rhetoric anymore: anti-capitalist education is anti-hierarchical education.

Honestly I felt a vision of what edutainment together was like playing Learn 100 Words: One at a Time! It’s a deceptively simple game, made for a deviously indulgent glorioustrainwreck’s challenge to make a hundred games. So a microgame per word; play goes rapidfire through a collection of microgames, with various styles of play: quizzes, platformers, find-an-object, each based on vocabulary someone (probably) doesn’t know. It’s good natured and very goofy. Some microgames are obviously jokes, but others are very in earnest, and are surprisingly entertaining!

Lean 100 Words is made in Clickteam software (as GT games often are) and I don’t know what version, or what parts come from official asset packs, but I do recognize the buoyant, iconic clipart-esque sprites. Backgrounds are dark, hard gradients, with chunky buttons, reminiscent of web 1.0 or even a Vasily Zotov game. A wall of retro-futuristic, full bodied synth sounds greet on start up. All of the UX has a pleasant shape and exaggerated proportions, which gets me nostalgic for edutainment games of my childhood, and more oddly, the various online classes I’ve taken in my life.

I think it’s the hardest I’ve laughed at a game in a long time too. The game’s tone is just so innocuous from the get. Like the first word (when playing alphabetically instead of randomly) is aal, and I was like, that’s a word? That’s not a word… is this game about made up words? It is a word though, it’s a really technical term that I don’t really understand. But it’s a word! The hint is, “I couldn’t find a textbook definition,” so I slowly scrolled around and eventually clicked on a textbook, and completed the game. Close enough to the real definition? Honestly, sure!

Whether it’s intentional, or a happy accident of trying to do a lot with whatever means, Learn 100 Words is a genuinely hilarious parody of edutainment games. Instrumental to this are voiceovers done by the developer of every word and accompanied hint. They’re off the cuff, not really rehearsed."



"In Learn 100 Words it’s feels fine to hear misspeak, it’s fine for hints to be somewhat mistaken, or trail off, lose their thread, because it still comes back to learning 100 words. The goofs put me at ease, like, I don’t feel self-conscious about the stuff I don’t know. This is a big contrast to the real methodical approach for a standard edutainment game, games that fuss over whether its textbook blocks are working. No matter how vibrant a game like that manages to be, it’s still cut up by a very rigid, very institution-minded push for absolute legibility. A vague, palpable desperation could be felt over their needy hope that this information is getting through to my swiss cheese brain. In other words, capitalist about its use, and condescending.

Further, Learn 100 Words doesn’t shy from expressing poetic game design, like the former microgame for abaton. Maybe the most successful “mnemonics” are associations formed by emotional impact. Getting someone to care is an obvious step to engagement, but there’s a tendency to overthink, overpolish what generates care. There’s something about candidly, simply, presenting ideas, with personality. Concepts are expressive vehicles and are sometimes better expressed by individualistic interpretations.

I don’t think the process to genuine retention, learning, growing, can be calculated. In my lifetime effective education came from mentors who felt invested in my development and were willing to learn with me. I don’t think there’s a combination of software or even other programs that will magically work. Curriculum, which edutainment is, should be about creating environments that can facilitate positive relationships, that can generate a mutual investment in growth.

The coldness of profit extraction will tinge and undermine self-determination. I remember most of the silly, complicated words I learned from playing Learn 100 Words, while I’ve absolutely struggled through other language software (some from my youth, some from the now). My point isn’t that games need to “learn” from this and try to imitate a casual friendliness, it’s that compassion is done, not imitated."
via:tealtan  games  videogames  seriousgames  gaming  play  edutainment  2017  leeroylewin  sfsh  howwelearn  education  capitalism  self-determination  tcsnmy  compassion  relationships  mentorship  howweteach  curriculum  growth  environment  interpretation  engagement  emotion  learning  humanity  automation  hierarchy  horizontality  microgames 
yesterday
PAMELA LIOU - DOTI THE DESKTOP LOOM
"The Dot-Matrix Fabric Printer is an open source desktop jacquard loom (nicknamed Doti) which leverages digital fabrication to enable expressive textile production at home and encourage broader design literacy. I am currently developing the Doti Project as a Project Resident at Eyebeam

The Doti loom provides an alternative to commercial weaving industry-- a technology-mediated model for the cottage industry of high quality textiles. Users drag and drop an image, which is then parsed into a woven pattern. An array of motors lifts and lowers threads while the weaver passes a shuttle across the shed of the loom, generating complex fabric patterns. Patterns are easily shared over a network of looms.

[video: https://vimeo.com/127880753 ]

The Doti loom allows users to design freely. Each warp, or vertical thread, is attached to an actuator that lowers or lifts. Because each thread has a separate motor, you can individually address each warp. As the weaver shuttles thread, a pattern emerges additively. The weaver is able to change the state of each thread on the fly, and the complexity of the design is limited only by the number of motors a machine is equipped with. The project began at NYU's Interactive Telecommunication Program as my thesis.Unlike commercially available looms, the user of a Doti loom can weave any pattern, unencumbered by pre-threaded harnesses or the cognitive load of keeping track of a draft pattern.

By networking multiple machines, Doti will provide the foundation for a robust supply chain of independent small batch textile producers. Because the Doti Project is a holistic survey of this open-source model, my research process involves three concurrent threads: the fabrication of a desktop loom, the cultural context for the open source hardware model, and the development of an expressive web application.

The Jacquard loom has a storied history. Credited as the world's first computer, it is also a timeworn symbol of technology displacing human labor. Adapting the jacquard as an open hardware device for the home (cottage industry) not only requires rigorous technical execution, but exploring new modalities for developing community-driven open-source innovations.

The desktop loom is continuation of a previous project, Weavy the Smart Loom that created with Kristina Budelis, Danqing Wang, and Ma Tan. The original loom involved a single harness moving alternating warp threads up and down with a stepper motor. The user weaves manually by moving a shuttle back and forth. For Weavy, I researched traditional loom designs and the originally jacquard loom mechanism, as well as the history around the mechanization of textile fabrication and the Luddite revolution."
pamrlaliou  looms  weaving  diy  opensource  classideas  digital  kristinabudelis  danqingwang  matan 
2 days ago
2015 Arts Writing Award grantee Joanne McNeil debuts Just Browsing - Carl & Marilynn Thoma Art Foundation
"The recipient of our 2015 Arts Writing Award in Digital Art, Joanne McNeil has completed her grant-supported project Just Browsing, a five-part video series investigating what it means to be an internet user. Just Browsing will premiere at Fridman Gallery in New York City on Oct. 19. McNeil and her coproducer Nicole Antebi will be in attendance and will introduce each episode in the series. The screening is to be followed by a Q&A session with the filmmaker and her coproducer.

Each episode in McNeil’s series begins with a topic of inquiry and leads the audience through the narrator’s own investigation of overlapping subjects using books and a web browser. The episodes toggle between new and old forms of media along with animation and live-action sequences filmed at New York’s legendary speakeasy bookstore Brazenhead Books.

Written and directed by McNeil, with cinematography, editing, and motion graphics by Antebi and music by Vince Clarke, Just Browsing will go live on the artist’s website later this year.

Joanne McNeil is a writer interested in the ways that technology is shaping art, politics, and society. She was a recipient of the Carl & Marilynn Thoma Art Foundation 2015 Arts Writing Awards in Digital Art and a resident at Eyebeam. Her essays and reviews have appeared in the New York Times, Domus, Dissent, Frieze, The Baffler, and other publications. She is working on a book about internet users called Lurk.

Nicole Antebi works in non-fiction animation, motion graphics, installation. She was the 2015 animator-in-residence at Circuit Bridges, New York and was recently awarded a Jerome Foundation Grant in Film/Video for a forthcoming animated film about El Paso and Ciudad Juàrez in the early 1990’s. Her work has been shown at Anthology Film Archives, Torrance Art Museum, The Crocker Museum, Dallas Contemporary, and the Armory Center for the Arts, among other art institutions and alternative spaces."
justbrowsing  joannemcneil  film  towatch  nicoleantebi  internet  web  online  2017 
3 days ago
How Civilization Started | The New Yorker
"In “Against the Grain: A Deep History of the Earliest States,” James C. Scott, a professor of political science at Yale, presents a plausible contender for the most important piece of technology in the history of man. It is a technology so old that it predates Homo sapiens and instead should be credited to our ancestor Homo erectus. That technology is fire. We have used it in two crucial, defining ways. The first and the most obvious of these is cooking. As Richard Wrangham has argued in his book “Catching Fire,” our ability to cook allows us to extract more energy from the food we eat, and also to eat a far wider range of foods. Our closest animal relative, the chimpanzee, has a colon three times as large as ours, because its diet of raw food is so much harder to digest. The extra caloric value we get from cooked food allowed us to develop our big brains, which absorb roughly a fifth of the energy we consume, as opposed to less than a tenth for most mammals’ brains. That difference is what has made us the dominant species on the planet.

The other reason fire was central to our history is less obvious to contemporary eyes: we used it to adapt the landscape around us to our purposes. Hunter-gatherers would set fires as they moved, to clear terrain and make it ready for fast-growing, prey-attracting new plants. They would also drive animals with fire. They used this technology so much that, Scott thinks, we should date the human-dominated phase of earth, the so-called Anthropocene, from the time our forebears mastered this new tool.

We don’t give the technology of fire enough credit, Scott suggests, because we don’t give our ancestors much credit for their ingenuity over the long period—ninety-five per cent of human history—during which most of our species were hunter-gatherers. “Why human fire as landscape architecture doesn’t register as it ought to in our historical accounts is perhaps that its effects were spread over hundreds of millennia and were accomplished by ‘precivilized’ peoples also known as ‘savages,’ ” Scott writes. To demonstrate the significance of fire, he points to what we’ve found in certain caves in southern Africa. The earliest, oldest strata of the caves contain whole skeletons of carnivores and many chewed-up bone fragments of the things they were eating, including us. Then comes the layer from when we discovered fire, and ownership of the caves switches: the human skeletons are whole, and the carnivores are bone fragments. Fire is the difference between eating lunch and being lunch."



"It was the ability to tax and to extract a surplus from the produce of agriculture that, in Scott’s account, led to the birth of the state, and also to the creation of complex societies with hierarchies, division of labor, specialist jobs (soldier, priest, servant, administrator), and an élite presiding over them. Because the new states required huge amounts of manual work to irrigate the cereal crops, they also required forms of forced labor, including slavery; because the easiest way to find slaves was to capture them, the states had a new propensity for waging war. Some of the earliest images in human history, from the first Mesopotamian states, are of slaves being marched along in neck shackles. Add this to the frequent epidemics and the general ill health of early settled communities and it is not hard to see why the latest consensus is that the Neolithic Revolution was a disaster for most of the people who lived through it.

War, slavery, rule by élites—all were made easier by another new technology of control: writing. “It is virtually impossible to conceive of even the earliest states without a systematic technology of numerical record keeping,” Scott maintains. All the good things we associate with writing—its use for culture and entertainment and communication and collective memory—were some distance in the future. For half a thousand years after its invention, in Mesopotamia, writing was used exclusively for bookkeeping: “the massive effort through a system of notation to make a society, its manpower, and its production legible to its rulers and temple officials, and to extract grain and labor from it.” Early tablets consist of “lists, lists and lists,” Scott says, and the subjects of that record-keeping are, in order of frequency, “barley (as rations and taxes), war captives, male and female slaves.” Walter Benjamin, the great German Jewish cultural critic, who committed suicide while trying to escape Nazi-controlled Europe, said that “there is no document of civilization which is not at the same time a document of barbarism.” He meant that every complicated and beautiful thing humanity ever made has, if you look at it long enough, a shadow, a history of oppression. As a matter of plain historical fact, that seems right. It was a long and traumatic journey from the invention of writing to your book club’s discussion of Jodi Picoult’s latest."



"The news here is that the lives of most of our progenitors were better than we think. We’re flattering ourselves by believing that their existence was so grim and that our modern, civilized one is, by comparison, so great. Still, we are where we are, and we live the way we live, and it’s possible to wonder whether any of this illuminating knowledge about our hunter-gatherer ancestors can be useful to us. Suzman wonders the same thing. He discusses John Maynard Keynes’s famous 1930 essay “The Economic Possibilities for Our Grandchildren.” Keynes speculated that if the world continued to get richer we would naturally end up enjoying a high standard of living while doing much less work. He thought that “the economic problem” of having enough to live on would be solved, and “the struggle for subsistence” would be over:
When the accumulation of wealth is no longer of high social importance, there will be great changes in the code of morals. We shall be able to rid ourselves of many of the pseudo-moral principles which have hag-ridden us for two hundred years, by which we have exalted some of the most distasteful of human qualities into the position of the highest virtues. We shall be able to afford to dare to assess the money-motive at its true value. The love of money as a possession—as distinguished from the love of money as a means to the enjoyments and realities of life—will be recognized for what it is, a somewhat disgusting morbidity, one of those semi-criminal, semi-pathological propensities which one hands over with a shudder to the specialists in mental disease.

The world has indeed got richer, but any such shift in morals and values is hard to detect. Money and the value system around its acquisition are fully intact. Greed is still good.

The study of hunter-gatherers, who live for the day and do not accumulate surpluses, shows that humanity can live more or less as Keynes suggests. It’s just that we’re choosing not to. A key to that lost or forsworn ability, Suzman suggests, lies in the ferocious egalitarianism of hunter-gatherers. For example, the most valuable thing a hunter can do is come back with meat. Unlike gathered plants, whose proceeds are “not subject to any strict conventions on sharing,” hunted meat is very carefully distributed according to protocol, and the people who eat the meat that is given to them go to great trouble to be rude about it. This ritual is called “insulting the meat,” and it is designed to make sure the hunter doesn’t get above himself and start thinking that he’s better than anyone else. “When a young man kills much meat,” a Bushman told the anthropologist Richard B. Lee, “he comes to think of himself as a chief or a big man, and he thinks of the rest of us as his servants or inferiors. . . . We can’t accept this.” The insults are designed to “cool his heart and make him gentle.” For these hunter-gatherers, Suzman writes, “the sum of individual self-interest and the jealousy that policed it was a fiercely egalitarian society where profitable exchange, hierarchy, and significant material inequality were not tolerated.”

This egalitarian impulse, Suzman suggests, is central to the hunter-gatherer’s ability to live a life that is, on its own terms, affluent, but without abundance, without excess, and without competitive acquisition. The secret ingredient seems to be the positive harnessing of the general human impulse to envy. As he says, “If this kind of egalitarianism is a precondition for us to embrace a post-labor world, then I suspect it may prove a very hard nut to crack.” There’s a lot that we could learn from the oldest extant branch of humanity, but that doesn’t mean we’re going to put the knowledge into effect. A socially positive use of envy—now, that would be a technology almost as useful as fire."
jamescscott  fire  technology  hunter-gatherers  2017  anthropology  johnlanchester  anthropocene  sedentism  agriculture  nomads  nomadism  archaeology  writing  legibility  illegibility  state  civilization  affluence  abundance  jamessuzman  bushmen  kalahari  namibia  khoisan  mesopotamia  egalitarianism  humans  self-interest  jealousy  greed  inequality  accumulation  motivation  society  happiness  money 
3 days ago
New Book Argues That Hunter-Gatherers May Be Happier Than Wealthy Westerners : Goats and Soda : NPR
"There's an idea percolating up from the anthropology world that may make you rethink what makes you happy.

The idea is not new. It surfaced in the popular consciousness back in the late 1960s and helped to galvanize a growing environmental movement.

And now several books are bringing it back into the limelight.

The idea is simple: Perhaps the American and European way of living isn't the pinnacle of human existence. Humanity hasn't been marching — in a linear fashion — toward some promised land. Perhaps, Western society isn't some magical state in which technology free us from the shackles of acquiring basic needs and allows us to maximize leisure and pleasure.

Instead, maybe, modernization has done just the opposite. Maybe the most leisurely days of humanity are behind us — way, way behind us.

"Did our hunter-gatherers have it better off?" James Lancester asks in a recent issue of The New Yorker. [https://www.newyorker.com/magazine/2017/09/18/the-case-against-civilization ]

"We're flattering ourselves by believing that their existence was so grim and that our modern, civilized one is, by comparison, so great," Lancester writes.

This idea surfaces, over and over again, in the fascinating new book by anthropologist James Suzman, called Affluence Without Abundance.

Suzman has spent the past 25 years visiting, living with and learning from one of the last groups of hunter-gatherers left on Earth — the Khoisan or Bushmen in the Kalahari Desert of Namibia.

A study back in the 1960s found the Bushmen have figured out a way to work only about 15 hours each week acquiring food and then another 15 to 20 hours on domestic chores. The rest of the time they could relax and focus on family, friends and hobbies.

In Suzman's new book, he offers rare glimpses of what life was like in this efficient culture — and what life was like for the vast majority of humans' evolution.

What we think of as "modern humans" have likely been on Earth for about 200,000 years. And for about 90 percent of that time we didn't have stashes of grains in the cupboard or ready-to-slaughter meat grazing outside our windows. Instead, we fed ourselves using our own two feet: by hunting wild animals and gathering fruits and tubers.

As people have diverged so widely from that hunter-gatherer lifestyle, maybe we've left behind elements of life that inherently made us happy. Maybe the culture of "developed" countries, as we so often say at Goats and Soda, has left holes in our psyche.

Suzman's experiences make him uniquely qualified to address such philosophical questions and offer suggestions on how to fill in the gap. So we spoke to him about his new book.

What do you think of this idea that the hunter-gatherer way of living makes people the happiest they can be? Is there anything that suggests this to be the case?

Look, the Bushman's society wasn't a Garden of Eden. In their lives, there are tragedies and tough times. People would occasionally fight after drinking.

But people didn't continuously hold themselves hostage to the idea that the grass is somehow greener on the other side — that if I do X and Y, then my life will be measurably improved.

So their affluence was really based on having a few needs that were simply met. Just fundamentally they have few wants — just basic needs that were easily met. They were skilled hunters. They could identify a hundred different plants species and knew exactly which parts to use and which parts to avoid. And if your wants are limited, then it's just very easy to meet them.

By contrast, the mantra of modern economics is that of limited scarcity: that we have infinite wants and limited means. And then we work and we do stuff to try and bridge the gap.

In fact, I don't even think the Bushman have thought that much about happiness. I don't think they have words equivalent to "happiness" like we think of. For us, happiness has become sort of aspirational.

Bushmen have words for their current feelings, like joy or sadness. But not this word for this idea of "being happy" long term, like if I do something, then I'll be "happy" with my life long term.

The Bushmen have a very different sense of time than we do in Western culture. In the book, you say we think of time as linear and in constant change, while they think of it as cyclical and predictable. Do you think that makes them happier?

This is one of the big, big differences between us and hunter-gatherer cultures. And I'm amazed that actually more anthropologists haven't written about it.

Everything in our lives is kind of future-oriented. For example, we might get a college degree so we can get a job, so that we can get a pension. For farmers it was the same way. They planted seeds for the harvest and to store.

But for hunter-gatherers, everything was present-oriented. All their effort was focused on meeting an immediate need.

They were absolutely confident that they would be able to get food from their environment when they needed it. So they didn't waste time storing or growing food. This lifestyle created a very different perspective on time.

People never wasted time imagining different futures for themselves or indeed for anybody else.

Everything we do now is rooted in this constant and enduring change, or our history. We look at ourselves as being part of our history, or this trajectory through time.

The hunter-gatherers just didn't bother locating themselves in history because stuff around them was pretty much always the same. It was unchanging.

Yes, there might be different trees sprouting up year after year. Or things in the environment change from season to season. But there was a systemic continuity to everything.

I think that it's a wonderful, extraordinary thing. I think it's something we can never get back — this different way of thinking about something as fundamental as time.

It manifests in very small ways. For example, I would ask them what their great grandfather's name was and some people would just say, "I don't know." They just simply didn't care. Everything was so present-focused.

Today people [in Western societies] go to mindfulness classes, yoga classes and clubs dancing, just so for a moment they can live in the present. The Bushmen live that way all the time!

And the sad thing is, the minute you're doing it consciously, the minute it ceases to be.

It's like making the perfect tennis shot. You can know all the theory in the world about how to play tennis. But to make the perfect shot, it's a profoundly physical thing. It's subconscious.

So the Bushmen held the secret to mindfulness and living in moment. Is that key to their happiness?

There is this supreme joy we get in those moments, you know, when time sort of disappears.

I felt that way when I was younger, and I used to go clubbing and dancing. Time disappeared. There was no earlier that day and no tomorrow.

So is there a way people can get this hunter-gatherer sense of time back? To live in the moment subconsciously?

I think there are some things in modern life that can fill in the gap left by not connecting with nature the way hunter-gatherers did.

I think sports can help fill this void or going on long hikes. You can also lose sense of time by doing activities which give you a great sense of purposed fullness and satisfaction, such as crafts, painting and writing.

After spending so much time with the Bushmen, does Western society just seem crazy?

Ha, ha. When I was younger, I was angry about "us," you know about the way people in our society behave.

But over time, I realized, that if I'm open-minded about my Bushmen friends, I should be open-minded about people here.

So over time, the experiences have really humanized everybody. I've come to realize that all types of people — and their cultures — are just as clever and just as stupid."
globalism  happiness  anthropology  bushmen  jameslancester  affluence  abundance  jamessuzman  namibia  khoisan  culture  society  time  hunter-gatherers 
3 days ago
The Touch of Madness - Pacific Standard
"So Jones grew alarmed when, soon after starting at DePaul in the fall of 2007, at age 27, she began having trouble retaining things she had just read. She also struggled to memorize the new characters she was learning in her advanced Chinese class. She had experienced milder versions of these cognitive and memory blips a couple times before, most recently as she’d finished her undergraduate studies earlier that year. These new mental glitches were worse. She would study and draw the new logograms one night, then come up short when she tried to draw them again the next morning.

These failures felt vaguely neurological. As if her synapses had clogged. She initially blamed them on the sleepless, near-manic excitement of finally being where she wanted to be. She had wished for exactly this, serious philosophy and nothing but, for half her life. Now her mind seemed to be failing. Words started to look strange. She began experiencing "inarticulable atmospheric changes," as she put it—not hallucinations, really, but alterations of temporality, spatiality, depth perception, kinesthetics. Shimmerings in reality's fabric. Sidewalks would feel soft and porous. Audio and visual input would fall out of sync, creating a lag between the movement of a speaker's lips and the words' arrival at Jones' ears. Something was off.

"You look at your hand," as she described it to me later, holding hers up and examining it front and back, "and it looks the same as always. But it's not. It's yours—but it's not. Nothing has changed"—she let her hand drop to her knee—"yet it's different. And that's what gets you. There's nothing to notice; but you can't help but notice."

Another time she found herself staring at the stone wall of a building on campus and realizing that the wall's thick stone possessed two contradictory states. She recognized that the wall was immovable and that, if she punched it, she'd break her hand. Yet she also perceived that the stone was merely a constellation of atomic particles so tenuously bound that, if she blew on it, it would come apart. She experienced this viscerally. She felt the emptiness within the stone.

Initially she found these anomalies less threatening than weird. But as they intensified, the gap between what she was perceiving and what she could understand rationally generated an unbearable cognitive dissonance. How could something feel so wrong but she couldn't say what? She had read up the wazoo about perception, phenomenology, subjectivity, consciousness. She of all people should be able to articulate what she was experiencing. Yet she could not. "Language had betrayed me," she says. "There was nothing you could point to and say, 'This looks different about the world.' There were no terms. I had no fucking idea."

Too much space was opening within and around and below her. She worried she was going mad. She had seen what madness looked like from the outside. When Jones was in her teens, one of her close relatives, an adult she'd always seen frequently, and whom we'll call Alex for privacy reasons, had in early middle age fallen into a state of almost relentless schizophrenia. It transformed Alex from a warm, caring, and open person who was fully engaged with the world into somebody who was isolated from it—somebody who seemed remote, behaved in confusing and alarming ways, and periodically required hospitalization. Jones now started to worry this might be happening to her."



"Reading philosophy helped Jones think. It helped order the disorderly. Yet later, in college, she lit up when she discovered the writers who laid the philosophical foundation for late 20-century critical psychiatry and madness studies: Michel Foucault, for instance, who wrote about how Western culture, by medicalizing madness, brands the mad as strangers to human nature. Foucault described both the process and the alienating effect of this exclusion-by-definition, or "othering," as it soon came to be known, and how the mad were cut out and cast away, flung into pits of despair and confusion, leaving ghosts of their presence behind.

To Jones, philosophy, not medicine, best explained the reverberations from the madness that had touched her family: the disappearance of the ex-husband; the alienation of Alex, who at times seemed "there but not there," unreachable. Jones today describes the madness in and around her family as a koan, a puzzle that teaches by its resistance to solution, and which forces upon her the question of how to speak for those who may not be able to speak for themselves.

Jones has since made a larger version of this question—of how we think of and treat the mad, and why in the West we usually shunt them aside—her life's work. Most of this work radiates from a single idea: Culture shapes the experience, expression, and outcome of madness. The idea is not that culture makes one mad. It's that culture profoundly influences every aspect about how madness develops and expresses itself, from its onset to its full-blown state, from how the afflicted experience it to how others respond to it, whether it destroys you or leaves you whole.

This idea is not original to Jones. It rose from the observation, first made at least a century ago and well-documented now, that Western cultures tend to send the afflicted into a downward spiral rarely seen in less modernized cultures. Schizophrenia actually has a poorer prognosis for people in the West than for those in less urbanized, non-Eurocentric societies. When the director of the World Health Organization's mental-health unit, Shekhar Saxena, was asked last year where he'd prefer to be if he were diagnosed with schizophrenia, he said for big cities he'd prefer a city in Ethiopia or Sri Lanka, like Colombo or Addis Ababa, rather than New York or London, because in the former he could expect to be seen as a productive if eccentric citizen rather than a reject and an outcast.

Over the past 25 years or so, the study of culture's effect on schizophrenia has received increasing attention from philosophers, historians, psychiatrists, anthropologists, and epidemiologists, and it is now edging into the mainstream. In the past five years, Nev Jones has made herself one of this view's most forceful proponents and one of the most effective advocates for changing how Western culture and psychiatry respond to people with psychosis. While still a graduate student at DePaul she founded three different groups to help students with psychosis continue their studies. After graduating in 2014, she expanded her reach first into the highest halls of academe, as a scholar at Stanford University, and then into policy, working with state and private agencies in California and elsewhere on programs for people with psychosis, and with federal agencies to produce toolkits for universities, students, and families about dealing with psychosis emerging during college or graduate study. Now in a new position as an assistant professor at the University of South Florida, she continues to examine—and ask the rest of us to see—how culture shapes madness.

In the United States, the culture's initial reaction to a person's first psychotic episode, embedded most officially in a medical system that sees psychosis and schizophrenia as essentially biological, tends to cut the person off instantly from friends, social networks, work, and their sense of identity. This harm can be greatly reduced, however, when a person's first care comes from the kind of comprehensive, early intervention programs, or EIPs, that Jones works on. These programs emphasize truly early intervention, rather than the usual months-long lag between first symptoms and any help; high, sustained levels of social, educational, and vocational support; and building on the person's experience, ambitions, and strengths to keep them as functional and engaged as possible. Compared to treatment as usual, EIPs lead to markedly better outcomes across the board, create more independence, and seem to create far less trauma for patients and their family and social circles."



"Once his eye was caught, Kraepelin started seeing culture's effects everywhere. In his native Germany, for instance, schizophrenic Saxons were more likely to kill themselves than were Bavarians, who were, in turn, more apt to do violence to others. In a 1925 trip to North America, Kraepelin found that Native Americans with schizophrenia, like Indonesians, didn't build in their heads the elaborate delusional worlds that schizophrenic Europeans did, and hallucinated less.

Kraepelin died in 1926, before he could publish a scholarly version of those findings. Late in his life, he embraced some widely held but horrific ideas about scientific racism and eugenics. Yet he had clearly seen that culture exerted a powerful, even fundamental, effect on the intensity, nature, and duration of symptoms in schizophrenia, and in bipolar disorder and depression. He urged psychiatrists to explore just how culture created such changes.

Even today, few in medicine have heeded this call. Anthropologists, on the other hand, have answered it vigorously over the last couple of decades. To a cultural anthropologist, culture includes the things most of us would expect—movies, music, literature, law, tools, technologies, institutions, and traditions. It also includes a society's predominant ideas, values, stories, interpretations, beliefs, symbols, and framings—everything from how we should dress, greet one another, and prepare and eat food, to what it means to be insane. Madness, in other words, is just one more thing about which a culture constructs and applies ideas that guide thought and behavior.

But what connects these layers of culture to something so seemingly internal as a person's state of mind? The biocultural anthropologist Daniel Lende says that it helps here to think of culture as a series of concentric circles surrounding each of us. For simplicity's sake, let's keep it to two circles around a core, with each circle … [more]
2017  daviddobbs  mentalhealth  psychology  health  culture  madness  nevjones  japan  ethiopia  colombo  addisababa  schizophrenia  society  srilanka  shekharsaxena  philosophy  perception  treatment  medicine  psychosis  media  academia  anthropology  daniellende  pauleugenbleuler  emilkraepelin  danielpaulschreber  edwadsapir  relationships  therapy  tinachanter  namitagoswami  irenehurford  richardnoll  ethanwatters  wolfgangjilek  wolfgangpfeiffer  stigma  banishment  hallucinations  really  but  alterations  of  temporality  time  spatiality  depthperception  kinesthetics  memory  memories  reality  phenomenology  subjectivity  consciousness  donaldwinnicott  alienation  kinship  isolation  tanyaluhrmann 
3 days ago
Have We Lost Sight of the Promise of Public Schools? - The New York Times
"The word derives from the Latin word publicus, meaning “of the people.” This concept — that the government belongs to the people and the government should provide for the good of the people — was foundational to the world’s nascent democracies. Where once citizens paid taxes to the monarchy in the hope that it would serve the public too, in democracies they paid taxes directly for infrastructure and institutions that benefited society as a whole. The tax dollars of ancient Athenians and Romans built roads and aqueducts, but they also provided free meals to widows whose husbands died in war. “Public” stood not just for how something was financed — with the tax dollars of citizens — but for a communal ownership of institutions and for a society that privileged the common good over individual advancement.

Early on, it was this investment in public institutions that set America apart from other countries. Public hospitals ensured that even the indigent received good medical care — health problems for some could turn into epidemics for us all. Public parks gave access to the great outdoors not just to the wealthy who could retreat to their country estates but to the masses in the nation’s cities. Every state invested in public universities. Public schools became widespread in the 1800s, not to provide an advantage for particular individuals but with the understanding that shuffling the wealthy and working class together (though not black Americans and other racial minorities) would create a common sense of citizenship and national identity, that it would tie together the fates of the haves and the have-nots and that doing so benefited the nation. A sense of the public good was a unifying force because it meant that the rich and the poor, the powerful and the meek, shared the spoils — as well as the burdens — of this messy democracy."



"As the civil rights movement gained ground in the 1950s and 1960s, however, a series of court rulings and new laws ensured that black Americans now had the same legal rights to public schools, libraries, parks and swimming pools as white Americans. But as black Americans became part of the public, white Americans began to pull away. Instead of sharing their public pools with black residents — whose tax dollars had also paid for them — white Americans founded private clubs (often with public funds) or withdrew behind their fences where they dug their own pools. Public housing was once seen as a community good that drew presidents for photo ops. But after federal housing policies helped white Americans buy their own homes in the suburbs, black Americans, who could not get government-subsidized mortgages, languished in public housing, which became stigmatized. Where once public transportation showed a city’s forward progress, white communities began to fight its expansion, fearing it would give unwanted people access to their enclaves.

As black Americans became part of the public, white Americans began to pull away.

And white Americans began to withdraw from public schools or move away from school districts with large numbers of black children once the courts started mandating desegregation. Some communities shuttered public schools altogether rather than allow black children to share publicly funded schools with white children. The very voucher movement that is at the heart of DeVos’s educational ideas was born of white opposition to school desegregation as state and local governments offered white children vouchers to pay for private schools — known as segregation academies — that sprouted across the South after the Supreme Court struck down school segregation in 1954.

“What had been enjoyed as a public thing by white citizens became a place of forced encounter with other people from whom they wanted to be separate,” Bonnie Honig, a professor of political science and modern culture and media at Brown University and author of the forthcoming book “Public Things: Democracy in Disrepair,” told me. “The attractiveness of private schools and other forms of privatization are not just driven by economization but by the desire to control the community with which you interact.”

Even when they fail, the guiding values of public institutions, of the public good, are equality and justice. The guiding value of the free market is profit. The for-profit charters DeVos helped expand have not provided an appreciably better education for Detroit’s children, yet they’ve continued to expand because they are profitable — or as Tom Watkins, Michigan’s former education superintendent, said, “In a number of cases, people are making a boatload of money, and the kids aren’t getting educated.”

Democracy works only if those who have the money or the power to opt out of public things choose instead to opt in for the common good. It’s called a social contract, and we’ve seen what happens in cities where the social contract is broken: White residents vote against tax hikes to fund schools where they don’t send their children, parks go untended and libraries shutter because affluent people feel no obligation to help pay for things they don’t need. “The existence of public things — to meet each other, to fight about, to pay for together, to enjoy, to complain about — this is absolutely indispensable to democratic life,” Honig says.

If there is hope for a renewal of our belief in public institutions and a common good, it may reside in the public schools. Nine of 10 children attend one, a rate of participation that few, if any, other public bodies can claim, and schools, as segregated as many are, remain one of the few institutions where Americans of different classes and races mix. The vast multiracial, socioeconomically diverse defense of public schools that DeVos set off may show that we have not yet given up on the ideals of the public — and on ourselves."
schools  publicschools  education  2017  democracy  race  integration  segregation  inequality  socialjustice  society  publicgood  power  money  economics  socialcontact  nikolehannah-jones  newdeal  racism 
3 days ago
Trump’s Inconvenient Racial Truth - The New York Times
"Liberals quickly lambasted Ryan for those remarks. But far too often, the way Democrats talk to, and about, black Americans is indistinguishable from the way their Republican counterparts do. And President Obama has been as guilty as anyone. A year before Ryan made his remarks, Obama delivered a commencement address at the historically black Morehouse College, where he warned the graduates at the prestigious all-male school that they shouldn’t use racism as an excuse, and to be good fathers.

Politicians regularly deploy this type of shaming when referring to, or even when addressing, black Americans. But it’s hard to fathom a politician, Democrat or Republican, standing before a predominately white crowd in a sagging old coal town, and blaming the community’s economic woes on poor parenting or lack of work ethic or a victim mentality. Those Americans, white Americans, are worthy of government help. Their problems are not of their own making, but systemic, institutional, out of their control. They are never blamed for their lot in life. They have had jobs snatched away by bad federal policy, their opportunities stolen by inept politicians."



"What I am saying is that when Trump claims Democratic governance has failed black people, when he asks “the blacks” what they have to lose, he is asking a poorly stated version of a question that many black Americans have long asked themselves. What dividends, exactly, has their decades-long loyalty to the Democratic ticket paid them? By brushing Trump’s criticism off as merely cynical or clueless rantings, we are missing an opportunity to have a real discussion of the failures of progressivism and Democratic leadership when it comes to black Americans."



"In the intervening years, modern Democrats have been far more likely to support social programs that help the poor, who are disproportionately black, and to support civil rights policies. But since Johnson left office, Democrats have done little to address the systemic issues — housing and school segregation — that keep so many black Americans in economic distress and that make true equality elusive. At the federal level, despite the fact that the National Fair Housing Alliance estimates that black Americans experiences millions of incidents of housing discrimination every year, Democrats, like Republicans, have avoided strong enforcement of federal fair-housing laws that would allow black families to move to opportunity-rich areas. Both Democrats and Republicans have failed to pursue school-integration policies that would ensure black children gain access to the good schools white kids attend. In the 1970s and ’80s, Trump battled housing-discrimination lawsuits, while Senator Clinton was noticeably quiet when Westchester County, N.Y., a county that twice voted decidedly for Obama, fought a court order to integrate its whitest towns, including Chappaqua, the 2-percent-black town she calls home.

Instead of seeking aggressive racial-equality initiatives, Democrats too often have opted for a sort of trickle-down liberalism. If we work to strengthen unions, that will trickle down to you. If we work to strengthen health care, that will trickle down to you. If we work to make all schools better, that will trickle down to you. After decades of Democratic loyalty, too many black Americans are still awaiting that trickle."



"Regardless of how you feel about Trump, on this one thing he is right: The Democratic Party has taken black Americans for granted. The problem is — and this is where Trump’s rhetoric is just that, rhetoric — black people aren’t loyal Democrats because they don’t know any better. They are making an informed decision. As Theodore R. Johnson, an adjunct professor at Georgetown University’s McCourt School of Public Policy and an expert on black voting behavior, points out in his research, black Americans are an electoral monolith out of necessity. Black people care about the environment and the economy and international issues, and they generally fall across the spectrum on a range of issues, just like all other human beings. But while the Democratic Party might be accused of upholding the racial status quo, the Republican Party has a long track record of working to restrict the remedies available to increase housing and school integration and equal opportunities in employment and college admissions. And most critical, Republicans have passed laws that have made the hallmark of full citizenship — the right to vote — more difficult for black Americans. Since first securing the right to vote, black Americans have had to be single-issue voters — and that single issue is basic citizenship rights. Maintaining these rights will always and forever transcend any other issue. And so black Americans can never jump ship to a party they understand as trying to erode the hard-fought rights black citizens have died to secure."
nikolehannah-jones  2016  donaldtrump  race  racism  us  politics  policy  hillaryclinton  billclinton  democrats  statusquo  theodorejohnson  inequality  housing  republicans  barackobama 
3 days ago
Documenting U.S. Role in Democracy’s Fall and Dictator’s Rise in Chile - The New York Times
"A dimly lit underground gallery guides visitors through a maze of documents — presidential briefings, intelligence reports, cables and memos — that describe secret operations and intelligence gathering carried out in Chile by the United States from the Nixon years through the Reagan presidency."



"“These documents have helped us rewrite Chile’s contemporary history,” said Francisco Estévez, director of the museum. “This exhibit is a victory in the fight against negationism, the efforts to deny and relativize what happened during our dictatorship.”

The Memory and Human Rights Museum opened in 2010 during the first term of President Michelle Bachelet and offers a chronological reconstruction of the 17-year Pinochet government through artifacts, recordings, letters, videos, photographs, artwork and other material. About 150,000 people visit the museum annually, a third of them groups of students, Mr. Estévez said.

The National Security Archive donated a selection of 3,000 declassified documents to the museum several years ago, while the State Department provided the Chilean government with copies of the entire collection. Chileans, however, have rarely seen them.

“To see on a piece of paper, for example, the president of the United States ordering the C.I.A. to preemptively overthrow a democratically elected president in Chile is stunning,” Mr. Kornbluh said. “The importance of having these documents in the museum is for the new generations of Chileans to actually see them.”"
chile  2017  us  cia  salvadorallende  pinochet  1973  1970  history 
3 days ago
El Diablo in Wine Country « LRB blog
"The big picture, then, is the violent reorganisation of regional fire regimes across North America, and as pyrogeography changes, biogeography soon follows. Some forests and ‘sky island’ ecosystems will face extinction; most will see dramatic shifts in species composition. Changing land cover, together with shorter rainy seasons, will destabilise the snowpack-based water-storage systems that irrigate the West."



"This is the deadly conceit behind mainstream environmental politics in California: you say fire, I say climate change, and we both ignore the financial and real-estate juggernaut that drives the suburbanisation of our increasingly inflammable wildlands. Land use patterns in California have long been insane but, with negligible opposition, they reproduce themselves like a flesh-eating virus. After the Tunnel Fire in Oakland and the 2003 and 2007 firestorms in San Diego County, paradise was quickly restored; in fact, the replacement homes were larger and grander than the originals. The East Bay implemented some sensible reforms but in rural San Diego County, the Republican majority voted down a modest tax increase to hire more firefighters. The learning curve has a negative slope.

I’ve found that the easiest way to explain California fire politics to students or visitors from the other blue coast is to take them to see the small community of Carveacre in the rugged mountains east of San Diego. After less than a mile, a narrow paved road splays into rutted dirt tracks leading to thirty or forty impressive homes. The attractions are obvious: families with broods can afford large homes as well as dirt bikes, horses, dogs, and the occasional emu or llama. At night, stars twinkle that haven’t been visible in San Diego, 35 miles away, for almost a century. The vistas are magnificent and the mild winters usually mantle the mountain chaparral with a magical coating of light snow.

But Carveacre on a hot, high fire-danger day scares the shit out of me. A mountainside cul-de-sac at the end of a one-lane road with scattered houses surrounded by ripe-to-burn vegetation – the ‘fuel load’ of chaparral in California is calculated in equivalent barrels of crude oil – the place confounds human intelligence. It’s a rustic version of death row. Much as I would like for once to be a bearer of good news rather than an elderly prophet of doom, Carveacre demonstrates the hopelessness of rational planning in a society based on real-estate capitalism. Unnecessarily, our children, and theirs, will continue to face the flames."
mikedavis  2017  fire  fires  winds  diablowinds  santaanawinds  bayarea  napa  sonoma  sandiego  oaklandhills  santarosa  santacruz  stephenpyne  nature  urbanism  urban  capitalism  greenland  climatechange  lacienega  pacificnorthwest  cascadia  vanouve  britishcolumbia  phoenix  jerybrown  california  oakland  carveacre  mcmansions 
3 days ago
Dr. Nev Jones on Vimeo
[found after reading:

"The Tough of Madness: Culture profoundly shapes our ideas about mental illness, which is something psychologist Nev Jones knows all too well."
https://psmag.com/magazine/the-touch-of-madness-mental-health-schizophrenia ]
nevjones  academia  psychology  psychosis  schizophrenia  2017  mentalhealth  healthcare  health  ptsd  immigration  support  culture  society  risk 
3 days ago
A Manifesto – Evergreen Review
"We devise and concoct ways to make each other beg for the most meager of resources. Death, which should simply be something that comes to us, is instead an instrument of dominion and torture. We have perfected instruments of death-making. We extend such deathery even to our social systems, creating ways to ensure that the poorest and most vulnerable among us will die because the rest of us don’t believe they deserve the methods and technologies by which we keep ourselves alive."



"And yet, even in our imagination, we cannot conceive of a world where abundance is enough. We can literally create anything we want and live without want, but we still want more.

In this imagined new world, we are still at war with others, crisscrossing space to divide it up into sectors and grids, cutting up even empty air into parcels the way we do patches of land. We make the vast and incomprehensible universe malleable by exerting our history of dispossession onto it. Our thirst for possession is as boundless as the universe we inhabit. Even our imagination is limited by avarice. This is why, dear aliens, I feel no real pain or sadness at the thought of what you might do to us. The sorrows and suffering we have inflicted upon each other, the degradations, the humiliations, the pain, the contrasts in resources and the creation of need—nothing in the universe can match what we have already done."



"Like the utopias they bring forth, manifestos are birthed in the possibility of failure. They succeed not in the audacity of hope but in the audacity of despair. What is the present and the future we need to keep imagining? What is a utopia? What is the nature of our utopias? Do we still dare to have any?"



"No one is outside ideology. Yet, too many Americans believe they are, and prefer to focus on how they feel: a particularly American problem is the preponderance of affect in politics. But when it comes to politics—to anything that calls itself justice—we should only pay attention to two questions: what do people need, and how do we get them what they need without having to beg? Yet our political programs are neither initiated nor sustained by the will to redistribute our ridiculously ample resources. Rather, we obsess over whether the people who receive them are worthy of our care. We ask questions we never ask the well-off: Are you deserving? Do you have the proper moral character? If we give you this money, how do we know you won’t spend it on cigarettes? If you buy food, will it be junk food or apples? But wait, how can we be sure you won’t blow it all on lobster?"



"If you want our help, then make us weep for you.

In that, the left has failed miserably. The left can barely articulate what it stands for without weeping for forgiveness for its own existence. This manifesto is an attempt to instantiate the left. How do we learn to be the left fearlessly, without either shame or arrogance?"



"No doubt, dear aliens, you will have found in your exploration of our debris or our archives (who knows in what state you encounter us) rants from leftists about “identity” or “identitarianism.” It has been difficult to convince this kind of activist that a true left finds a way to think about getting people what they need without erasing the material realities of their lives, but without capitulating to the essentializing of gender, race, ethnicity, and sexuality. Yet, even now, in most left organizations, it is women who do the emailing and the cleaning up, while the menfolk spout on about the revolution."



"A true left abjures philanthropy, which only enables the concentration of wealth by providing the super wealthy with fantastic tax breaks. A true left fights for a society where housing is not a matter of investment linked to the survival of an economy but simply a right. It fights for a world where prisons don’t exist to extract life from those whose failings, real or imagined, we cannot confront and whom we would rather shut away forever."



"
Such focus on Trump’s xenophobia ignores the fact that the millions of undocumented in this country became such under Bill Clinton. Two pieces of immigration legislation, in 1994 and 1996, made many simple misdemeanours into felonies only for non-citizens, and created the three- and ten-year bars on re-entry, which pushed undocumented people, now afraid of not being allowed to return if they should leave the country, into the shadows. Arguably, Trump has fine-tuned such mechanisms, but the tools for expulsion and removal were left there by Democratic administrations and are simply being sharpened and honed by this one."



"Resistance, like the heart, is a muscle, and needs to be constantly exercised. Instead, it’s become a buzzword. It’s made people think that somehow they’re soldiers now, fighting on every front. Ongoing work gets rebranded as “resistance” as if magically, due to the presence of Voldemort, everything changed overnight. The press plays up a collective sense of impending doom, making it seem like our lives are now unfolding like a scene from The Deathly Hallows."



"To liberals and lefties, this August 2016 exchange was evidence of Trump’s madness and his dangerously childish naivete. But in fact Trump’s response revealed the idiocy of nuclear weaponry and exposed the irrationality at the heart of American foreign policy: that somehow there is nothing wrong about possessing nuclear weapons."



"Neoliberalism is in fact capitalism made familiar, which is why I describe it as the endless privatisation of everyday life. It survives on vectors of intimacy, transforming capitalism into an emotional matter rather than an economic one, even though its incursions and devastations are deadly and long-lasting precisely because of the way it serves to insinuate itself into the machinations of the daily world."



"This is not to wax nostalgic about “neighborhoods” or to imply that everyone needs to be an “ethical gentrifier,” but to point out that the economic structure in relation to something as basic as housing is entirely set up to benefit the banking and finance industry. Meanwhile, Chicago resolutely and proudly refers to itself as a city of neighborhoods. The question is: who gets to belong, who gets phased out?"



"how neoliberalism operates upon various vectors of intimacy, and how that intimacy cuts across lines of class, race, and gender with varying effects."



"Over and over, Chicago and other cities fetishise their “neighborhood feel,” creating “community” out of displacement, demanding that the displaced then return only to satisfy the cravings the new residents refuse to acknowledge or to perform the jobs beneath the newcomers’ pay grade. Home ownership is what Americans, gay and straight, are expected to do as married people and the intimacy of married life brutally occludes the covert and hidden intimacies of transactions that keep underground economies flourishing.

Neoliberalism seduces us with its intimacy. Intimacy with our workplace, our occupation, the idea of having to “love” what you do: our work becomes our lover. Neoliberalism feeds off our sense of constant economic precariousness by convincing us that we must never demand more from the state or corporations, that what we label “sharing” economies are somehow community-based endeavors. And so people everywhere distribute their labor almost for free, in workplaces that are described as “mobile” and to which they “commute” as free agents. But these are in fact far more onerous than regular workplaces, and are mostly unregulated enterprises, and offer neither benefits nor protections (the field of “left publishing", including this publication, consists almost entirely of such labor).

But what they do is put us in touch with our own labor as something we control, birth, operate. We work with the illusion of control, but we are compelled, all the while, to cede it. We believe that having no control over the circumstances of our lives yields an intimacy that we cannot get elsewhere.

Neoliberalism survives as well as it does because its machinations allow people to express dissent even as they in fact only echo support for its worst effects. During Occupy, it was incredible to watch so many take to the streets, finally critical of how capitalism had wreaked its havoc. But as I wound my way through the massive crowds and their signs, it also became evident that the palpable anger was not so much at the system but that the system had failed them. Signs everywhere said, in effect, “I did the right thing for years, and I was still screwed over.” Everywhere, there was an anger at the ruling classes, certainly, but I couldn’t help but recall yet again those words about America’s “temporarily embarrassed millionaires.” The subsequent bailouts only confirmed a widespread sense that if we just fix the system, we can make it all better, when the system itself is the problem, and “fixing” it only serves to concentrate resources and power in the hands of fewer and fewer people."



"Capitalism flows unimpeded."



" Western analysts take their own social freedoms for granted—average Americans have, for many decades, left their parental homes in their late teens—but when it comes to other and what they fondly imagine as “more traditional” cultures, would prefer it if everyone just stayed transfixed in quaint old ways, please.

Neoliberalism fills the immediate needs of people in ways that other systems cannot—because, yes, that’s how capitalism functions, by dismantling our existing structures, and creating a need for new ones that provide the illusion of stability but in fact cause more harm. Consider schooling, at least in the US. We first eviscerated public education by defunding it, except in the wealthiest districts, and then created a demand for (exploitative, ruinous, substandard) … [more]
yasminnair  2017  society  manifestos  left  love  compassion  justice  socialjustice  utopia  ideology  charity  philanthropicindustrialcomplex  philanthropy  charitableindustrialcomplex  government  excess  abundance  hunger  healthcare  gender  race  racism  sexism  homophobia  neoliberalism  capitalism  feminism  systems  sytemsthinking  socialism  communism  migration  immigration  donaldtrump  barackobama  hillaryclinton  resistance  future  climatechange  neighborhoods  gentrification  chicago  privatization  class  classism  poverty  sexuality  intersectionality  compromise  change  organization  economics 
3 days ago
Heterotopias |
"Heterotopias is a project focusing on the spaces and architecture of virtual worlds.

Heterotopias is both a digital zine and website, hosting studies and visual essays that dissect spaces of play, exploration, violence and ideology.

The zine can be bought from the pages listed on your left. Sales of the zine go directly to supporting the project.

For updates follow @heterotopiasZn or sign up to our newsletter.

Creator and Editor Gareth Damian Martin

Associate Editor Chris Priestman"
architecture  design  games  geography  gaming  videogames  chrispriestman  garethdamianmartin  vr  virtualreality  virtualworlds  play  exploration  violence  ideology 
3 days ago
Nowhere Prophet by Sharkbomb Studios
"Build a loyal band of followers and survive the journey across a broken world. Barely. Play Nowhere Prophet first, become a part of the world and help me build a better post-apocalypse.

• Find loot and recruit followers to build your deck 
• Unlock new classes and convoys across multiple playthroughs
• More than 250 cards for you to discover
• Stunning and colorful art style
• Indian infused electronica soundtrack
• Play and stream Nowhere Prophet before anyone else
• Regular updates every month 
• Future steam support included"
games  gaming  videogames 
3 days ago
Over The Alps
"Over the Alps is a mobile adventure game set against the turbulent backdrop of 1930s Switzerland.

Expect action, drama, suspense and yodelling.

Currently in development, sign up below to receive all the latest news."
games  videogames  1930s  gaming 
3 days ago
Children Of The Anthropocene | Future Unfolding | Heterotopias
"Look beneath your feet and you will see the Anthropocene. It is made of the deep concrete that paves our cities, the abundant plastics that constitute our waste and the metal pipes that funnel our water and oil. Look up and the chances are you will see it, too. Vapour trails linger in the air after an aeroplane has shot through a clear, blue sky, their chemical residue spraying delicately over the earth below.

“Between every two pine trees there is a door leading to a new way of life”
In 2000, the Nobel-prize winning atmospheric chemist, Paul Crutzen, and biologist, Eugene F. Stoermer, advanced a theory suggesting we are no longer living in the geological epoch known as the Holocene. Following the Paleolithic Ice Age, the Holocene provided us with stable, mild climates for approximately 12,000 years. Weather patterns were relatively predictable while land, animals, plant and tree life carved out a flourishing existence amidst its warm, pleasant temperatures. Citing the measurable effect greenhouse gases such as carbon dioxide and methane were exacting on the atmosphere, Crutzen proposed the Anthropocene, “the age of man”, the delineation of a time defined by human action on the environment. While the term has not yet gained official designation, there are increasing efforts to scientifically prove its existence. Global warming, plastic pollution, nuclear waste and many other human-driven phenomenon leave an unmistakable trace in geological records, the data of which is being used to evidence the Anthropocene.

Despite the bleak hubris and narcissism underpinning the term, these scientific efforts are facilitating a broader dawning ecological awareness. Eschewing the apocalyptic fatalism of its many contemporaries, Future Unfolding asks not what the world looks like after the deluge but before it. The game pulls off the temporal trick of transporting both player and setting back in time, adopting an almost childlike gaze of its seemingly edenic world. Inspired by designers Mattias Ljungström and Marek Plichta’s own experiences growing up in the Swedish and Polish countryside, dense forests of coniferous trees grow unchecked and its woodland floor is often carpeted with delicate red and yellow flowers. With such a shift in perspective—a reversion back to an earlier self—Future Unfolding asks us to assume a state of naivety and rediscover a sense of openness. With it, we might relearn our relationship with nature, unpick our assumptions and dissolve the hubris of our Anthropocene.

Things don’t function as you might expect in Future Unfolding. A tree is often a tree but at other times it is a portal, capable of transcending time and space. Sometimes these portals appear in its fauna like the idly grazing sheep who possess the ability to teleport. Elsewhere, amidst the ferns and luminescent lichen, pines appear to make patterns, simple shapes that when strung together, produce an entity capable of dissolving obstacles such as the impassable boulders strewn across the land. I remember playing in the ancient woodlands of Snowdonia as a child, forging many of the same connections and exploring the same potential of the environment that Future Unfolding depicts. That landscape hummed with the vibrancy of life, from the insects that consumed the pungent, rotting leaves on the ground to the thick, green moss that covered each rock. It offered me a window into another world that, as a child, echoed in my consciousness."



"For a crisis as enveloping as the Anthropocene, there is a value in this type of universalism. Specific problems abound that require specific solutions, of course, but Future Unfolding, along with other video games, literature, art and music are beginning to craft a new vernacular capable of conveying this shift in expression. Bjork’s work has long since channelled some sort of symbiosis with nature. Speaking about utopia in a recent interview with Dazed, she said: “There’s this old argument that civilisation treats nature the same as man treats women—you have to oppress it and dominate in order to progress. I just don’t agree with that. There is another way.” Kaitlyn Aurelia Smith crafts what might be considered the sonic equivalent to Future Unfolding’s pristine wilderness, her dense latticework synths sparkling with the same primordial urgency as the game. Track titles like “Existence in the Unfurling” speak to a similar biological enmeshing that Future Unfolding works towards. Ed Key and David Kanaga’s Proteus explores similar terrain, that game’s fizzing soundtrack determined by your place in the environment. Trees, hillocks and beaches all carry specific sounds, the effect of which jostles you into paying closer attention to its procedurally generated landscape."



"Throughout both Future Unfolding and the Southern Reach Trilogy, the gap between “us” and “them”—between humans and other life—is broken down. Sleeping mammals with long, white hair populate the game’s glowing landscape, each one keen to dispense knowledge. “Things near are not less beautiful and wondrous than things remote,” one said to me. “The near explains the far. The drop is a small ocean.” Their words emphasise wholeness and co-existence at times while also asking the player to unknow. “Don’t worry if you don’t understand everything,” said another. “Not till we are lost. In other words, not till we have lost the world do we begin to find ourselves.” This might sound like the garbling of a new-age hippie but these messages signal to a wider picture while the moments of discovery and interaction enable us to peek at the minutiae of blooming flowers and bobbling rocks.

Adopting this shift in perspective allows us to understand the scope of the Anthropocene as well as a way out of it. In his 2016 book, Dark Ecology, the philosopher Timothy Morton, wrote that “ecological awareness forces us to think and feel at multiple scales, scales that disorient normative concepts such as ‘present’, ‘life’, ‘human’, ‘nature’, ‘thing’, ‘thought,’ and ‘logic.’” But in traversing and reconciling these eerie phenomena we might reach a state of intimacy with nonhumans. “Coexisting with these nonhumans is ecological thought, art, ethics and politics.” For Morton, such a coexistence doesn’t entail a deferral to primitivism but an embracing of technologies amidst a transforming viewpoint. Play is crucial to the process and Future Unfolding gives us a space where we might test out these ideas for size to see how they fit, feel and taste.

Future Unfolding’s childlike gaze gently encourages a flexibility of thinking within us. It asks us to forget old cognitive pathways and instead forge new routes of thought. It is sometimes a sticky, unsettling process and, eschewing formal instructions or direction, the game reflects our current state of unknowing. We are prone to flailing in the murky darkness of the forest. But as we reformulate our relationship with nonhumans, Future Unfolding asks us to push through the uncomfortable anxiety of dawning ecological intimacy. Only then might we reach the ecstasy the Biologist experiences in Area X. We are prone to flailing in the murky darkness of the forest. But as we reformulate our relationship with nonhumans, Future Unfolding asks us to push through the uncomfortable anxiety of dawning ecological intimacy. Only then might we reach the ecstasy the Biologist experiences in Area X."
anthropocene  2017  lewisgordon  games  gaming  videogames  timothymorton  paulcrutzen  eugenestroermer  systems  systemsthinking  edkey  davidkanaga  proteus  kaitlynaureliasmith  futureunfolding  johnmuir  nature  mattiasljungström  marekplichta  globalarming  climatechange  via:anne  trees  lanscape  toplay  universalism  jeffvandermeer  southernreachtrilogy  biology  morethanhuman  multispecies  darkeccology  ecology  björk 
3 days ago
Climate Explorer
"Explore maps and graphs of historical and projected climate trends for any county in the contiguous United States. View data by topics to see how climate change will impact things you care about."
classideas  climate  data  government  climatechange  us 
3 days ago
Life in the Age of Drone Warfare | Duke University Press
"This volume's contributors offer a new critical language through which to explore and assess the historical, juridical, geopolitical, and cultural dimensions of drone technology and warfare. They show how drones generate particular ways of visualizing the spaces and targets of war while acting as tools to exercise state power. Essays include discussions of the legal justifications of extrajudicial killings and how US drone strikes in the Horn of Africa impact life on the ground, as well as a personal narrative of a former drone operator. The contributors also explore drone warfare in relation to sovereignty, governance, and social difference; provide accounts of the relationships between drone technologies and modes of perception and mediation; and theorize drones’ relation to biopolitics, robotics, automation, and art. Interdisciplinary and timely, Life in the Age of Drone Warfare extends the critical study of drones while expanding the public discussion of one of our era's most ubiquitous instruments of war.

Contributors. Peter Asaro, Brandon Wayne Bryant, Katherine Chandler, Jordan Crandall, Ricardo Dominguez, Derek Gregory, Inderpal Grewal, Lisa Hajjar, Caren Kaplan, Andrea Miller, Anjali Nath, Jeremy Packer, Lisa Parks, Joshua Reeves, Thomas Stubblefield, Madiha Tahir"
books  drones  military  war  warfare  2017  peterasaro  brandonwaynebryant  katherinechandler  rjordancrandall  ricardodominguez  derekgregory  inderpalgrewal  lisahajjar  carenkaplan  andreamiller  anjalinath  jeremypacker  lisaparks  joshuareeves  thomasstubblefield  madihatahir 
3 days ago
All the Films of Studio Ghibli, Ranked - The New York Times
"1. ‘Spirited Away’ (2001)
2. ‘Princess Mononoke’ (1997)
3. ‘My Neighbor Totoro’ (1988)
4. ‘Porco Rosso’ (1992)
5. ‘Castle in the Sky’ (Laputa) (1986)
6. ‘Howl’s Moving Castle’ (2004)
7. ‘Pom Poko’ (1994)
8. ‘Kiki’s Delivery Service’ (1989)
9. ‘My Neighbors the Yamadas’ (1999)
10. ‘Nausicaa of the Valley of the Wind’ (1984)
11. ‘The Tale of the Princess Kaguya’ (2013)
12. ‘Ponyo’ (2008)
13. ‘Only Yesterday’ (1991)
14. ‘The Wind Rises’ (2013)
15. ‘The Cat Returns’ (2002)
16. ‘Grave of the Fireflies’ (1988)
17. ‘Whisper of the Heart’ (1995)
18. ‘From Up on Poppy Hill’ (2011)
19. ‘The Secret World of Arrietty’ (2010)
20. ‘Ocean Waves’ (1993)
21. ‘When Marnie Was There’ (2014)
22. ‘Tales From Earthsea’ (2006)"

[I agree with Alenexandra Lange:

"Not bad but Porco Rossi above Kiki?!? I don't think so."
https://twitter.com/LangeAlexandra/status/919174099917819904 ]
classideas  studioghibli  movies  film  2017  hayaomiyazaki 
4 days ago
SublimeFrequencies
"SUBLIME FREQUENCIES is a collective of explorers dedicated to acquiring and exposing obscure sights and sounds from modern and traditional urban and rural frontiers via film and video, field recordings, radio and short wave transmissions, international folk and pop music, sound anomalies, and other forms of human and natural expression not documented sufficiently through all channels of academic research, the modern recording industry, media, or corporate foundations.

SUBLIME FREQUENCIES is focused on an aesthetic of extra-geography and soulful experience inspired by music and culture, world travel, research, and the pioneering recording labels of the past."

[See also: https://www.instagram.com/sublimefrequencies/ ]

[via: https://www.instagram.com/p/BaHOtRtF4T8/ ]
asia  world  worldmusic  music  hishammayet  sound  film  video  fieldrecordings  radio 
4 days ago
I love math, but quit teaching it because I was forced to make it boring - The Globe and Mail
"As a math teacher, there were many days I hated math more than my students did. Way more.

So I quit in 2013, happily leaving behind job security, a pension and the holy grail of teacher benefits: summers off.

Everyone thought I was crazy. I was in the early years of a divorce and had a mother and two kids to support. Almost nobody – and rightfully so, I suppose – supported my ostensibly hasty decision to abandon the education ship. There were no safety boats waiting and I was not a great swimmer. What the hell was I thinking?

In fact I was leaping off the Titanic – where actual math education is relegated to third class and was drowning along with its students.

The hardest thing to teach is mathematics. Not so much because math is hard – so is shooting three-pointers or making risotto – but because education makes it hard. Boring curriculum. Constant testing. Constant arguments over pedagogy. Lack of time. It's a Gong Show.

I found a sizable chunk of the math that I was forced to teach either a) boring; b) benign; c) banal; or d) Byzantine. The guilt of being paid to shovel this anachronistic heap of emaciated and disconnected mathematics around finally caught up with me.

I quit because I felt like a charlatan when I implicitly or explicitly told my students that what we were learning reflected the heart of mathematics or that it was the core of lifelong practicality. "When are we going to use this?" has been the No. 1 whine in math classes for a few generations. We should stop trying to sell mathematics for its usefulness. It's not why you or I should learn it.

Earlier this year, Francis Su, the outgoing president of the Mathematical Association of America, gave a speech for the ages. He referenced a prisoner named Christopher serving a long prison sentence, teaching himself mathematics. "Mathematics helps people flourish," he said. "Mathematics is for human flourishing." In a follow-up interview, Su talked about how math should involve beauty, truth, justice, love and play. Not sure about you, but my math education and Ontario teaching experience were the furthest things from these virtues. In Ontario, kids are imprisoned with criminally bland mathematics – so are the teachers.

I left teaching because my impact on math education lay beyond my classroom and my school. I felt I could contribute my passion/understanding for mathematics on a larger stage – maybe global. I was dreaming, but sometimes chasing your dreams is worth all the outside skepticism and uphill climbs. At one point, I was penniless at 50, stressed, confused and disappointed. But I wasn't unhappy. I was rescued by the light and humanity of mathematics.

Fast forward four years. I've written a book about the hidden happiness of math. I work remotely for a Canadian digital math resource company and I travel all over North America speaking about my almost gnawing passion of mathematics. I felt that I couldn't share that passion for most of my teaching career because the unchecked bureaucracy of the education system was more interested in data from standardized test scores and putting pedagogy ahead of mathematics. As such, the culture of mathematics has almost been shaded into obscurity.

So now, when I see the flood of math articles about Ontario's low math scores, I put my head in my hands and worry my eyes might just roll too far back into my head.

Every year is a contest to see who will win this year's huffing and puffing award about the province's low standardized test scores. For the past few years, arguments about old math versus new math have been running away with the trophy. Although, headlines crying Elementary Teachers Need More Math Training are often the runner-up.

As a student, I went through that "old" system. Sure, I got plenty of As and gold stars, but it took me well into my teaching career to really understand a fraction of the things I thought I knew.

Calculus? Pfff. Get rid of that thing, it belongs in university after a serious boot camp of algebra. Fractions, as with unsafe firecrackers, need to be pulled out of the hands of younger students and introduced to them in their hormonal years. Why are teachers asking students to flip and multiply fractions when you need to divide them? Anyone care to explain that to children – why fractions are doing gymnastics to arrive at the correct answer?

There are so many amazing teachers fighting the good fight. But until the real culprit – the government – gets called out for manufacturing a dog's breakfast of math education, students will continue to suffer in the classroom."
sfsh  mth  mathematics  teaching  education  testing  standardizedtesting  2017  sunilsingh  calculus  curriculum  pedagogy  cv  learning  francissu  math  beauty  truth  justice  love  play  happiness  bureaucracy  oldmath  newmath  fractions 
4 days ago
Freedom - International Day of the Girl - YouTube
"Every day girls around the world are fighting for their freedom. This International Day of the Girl - join them and raise your voice:

1. Share the film and tell us what #FreedomForGirls means to you
2. Take action at http://www.globalgoals.org/dayofthegirl

In 2015 when leaders signed up to the UN Sustainable Development Goals – the Global Goals - they made a promise – to empower all girls. There has been progress but we need to keep up the pressure. If we work together we can make sure world leaders deliver and every girl grows up healthy, safe, empowered and able to fulfil her dreams.

This new film from director MJ Delaney featuring ‘Freedom’ by Beyoncé, calls for action on some of the biggest challenges girls face like access to education, child marriage and the threat of violence´

Last year we asked you to share #WhatIReallyReallyWant for girls and women – this year we want you to raise your voice for freedom.

This can’t wait – we need action now if we are to achieve the Global Goals and equality for all girls."
girls  video  2017  beyoncé  kendricklamar  girlpower  dance  mjdelaney  globalgoals 
4 days ago
srishti archive | Designing Spaces for Learning - Talk by Geetha Narayanan
"Experience or experimenting, expanding or developing, remembering or copying are all choices designers and educators make as they engage with notions of learning and of change. This paper presents a set of four case studies that articulate the pedagogical visions of a collective who have been investigating the connections between context, culture, consciousness and learning. Set within learning spaces for the urban poor and the elite this paper positions that fostering deep connections between place, space and the child is critical to the development of consciousness and competence. Designing spaces for learning needs, as this paper argues for an appreciation of forms of knowing that juxtaposes primary ways of knowing with the analytic and the designerly. Speaker : Geetha Narayanan (Principal Investigator, Project Vision Design and Research Collective, Centre for Education Research, Training and Development, Srishti School of Art Design & Technology) Seminar Date: March 23rd, 2010 Venue: National Institute of Advanced Studies (NIAS), Indian Institute of Science Campus Time: 3.00 p.m. Respondents: Prem Chandavarkar (Architect) & Ampat Varghese(Faculty at Srishti)"

[See also: https://vimeo.com/11049855 ]
geethanarayanan  education  learning  design  architecture  experimentation  pedagogy  2010  context  culture  consciousness  schooldesign 
4 days ago
Geetha Narayanan, Founder-Director, Srishti School - YouTube
"Design helps people to develop within themselves the capacities to make the world a better place to live - Geetha Narayanan , Founder-Director, Srishti School."
training  education  assignments  sfsh  2017  experience  experientiallearning  geethanarayanan  learning 
4 days ago
Cap and Trade – The New Inquiry
"Q: Is that why the book is largely set in a forest? So much of the writing about capitalism is located in factories, fields, or counting houses. What can forests help us understand about capitalism?

A: Not all forests are just groups of trees. Much of the book takes place in the industrial forests of the Pacific Northwest. It was a center of industrial timber in the mid-20th century and is still considered an industrial forest today. Managed forests have become an important model for the industrial plantation. The sugar cane plantation of the New World was the early model for industrialization. Now when you look up the word plantation, tree plantations come up first. For me, writing about forests is a way of getting at industrial discipline.

Of course, the original New World colonial plantation haunts capitalism to this day. It is on the slave plantation that Europeans learn to create assets through the joint disciplining of people and crops. They also invented techniques to shield investors from the environmental and social consequences of the investments that they were making, often over long distances. The mid-20th century managed forest in the U.S. was a model for the intensive crop production of a forest. Weeds were removed through spraying, and the technical monocrop features of the forest were really exaggerated, even in national forests.

Q: In your essay “Gens” you make this statement of purpose along with your co-authors: “Instead of capitalism a priori, as an already determining structure, logic, and trajectory, we ask how its social relations are generated out of divergent life projects.” How did you come to this way of thinking about capitalism?

A: I came to it in part through feminist political economy. In the late 20th century, feminist political economy started asking questions about labor that weren’t getting asked, like why there were women factory workers and why certain industries preferentially hired women, or even certain kinds of women. In order to explain that, one simply couldn’t ignore complicated historical trajectories—colonialism, racism, and the way the state interacted with the family—and the way these histories intertwined to create a particular moment in capitalism. Those basic opening questions turned into fertile theoretical ground for feminist scholarship. Rather than starting from a monolithic structure of capitalism and asking about its effects, feminist scholarship asked how a set of histories congealed together to create a particular kind of economic moment.

Q: Matsutake mushrooms are very small. The mushroom trade is very small. But you convincingly argue that small does not mean unimportant. Scale is an important theme in the book. What can mushrooms help us understand about capitalism and scale?

A: We are seduced by our computers today. Computers have such an easy time making something bigger or smaller on a screen without appearing to distort its characteristics at all. It makes us think that this is how reality works. When reality does actually function this way, it is a whole lot of work to make it scale up and scale down. And it never works perfectly. The plantation chases that ideal. Its goal is to scale up or scale down without changing the manner of production at all. But doing that is an enormous amount of work, and the work is often violent.

Mushrooms turn out to be a good way to think about contradictory and interrupting scales, both in terms of political economy and ecology. In the supply chain, there’s not the same emphasis on maintaining production standards across scale. Instead, there are techniques for translating mushrooms produced in different local realities and scales into a single, uniform commodity. And these techniques never succeed completely. Ecologically, if you don’t have certain small disturbances between particular organisms, you wouldn’t have the effect of the forest at all."

Q: The book flips the geography of the supply chain we are most used to hearing about. The flexible labor is in rural America, and the buyers are overseas, in Japan. Is this a new historical period, economically speaking? How do you situate this in the context of the broader 20th century global economy?

A: I argue that there was a moment in the late 20th century when a particular model of Japanese supply chain became so powerful, it kicked over a big change in the way supply chains worked globally. Production was no longer the organizing force, which had been the case in the U.S. corporate supply chain, the predominant form before that. These changes disentangled the relationships between nation-states and powerful sourcing corporations. This disentanglement allows the rural northwestern U.S.to resemble the global south in certain ways as a sourcing area for global supply chains. But the matsutake supply chain is an unusual case. If you want to find U.S. companies sourcing from other parts of the world, that’s still the dominant form of supply chain.

Q: The book seems hopeful.

A: I’ve been accused both ways.

Q: Well, it has “End of the World” in the main title, and “the Possibilities of Life” in the subtitle.

A: That’s true. We don’t have a choice except to muddle by. So that’s the hopeful part. We have to figure out what we’ve got and what we can do with it. To me, this is practical hopefulness. It is a hard line to pull off. The subtitle is not actually about hope in a traditional Christian sense of redemption. At this particular historical moment, I don’t think that makes much sense. There are plenty of people who want to use a set of philosophies or technologies to get us out of the soup. That’s tough. On the other hand, there’s just getting stuck in a big bundle of apocalyptic thinking.

The book asks us to pay attention to the imperfect situation in which we live, to recognize both the handholds and the pitfalls. Perhaps looking at this particular mushroom lends hopefulness. I’ve since realized I don’t have to go that direction. Lately I’ve been giving papers on killer fungi, the kind of fungi that grow unintentionally out of the plantation system. These fungi and other pests and diseases represent the plantation system gone wild in ways that negatively affect humans, plants, or animals. Fungus can be terrible too."
scale  scalability  capitalism  sustainability  annalowenhaupttsing  anthropology  anthropocene  2016  themushroomattheendoftheworld  growth  plantations  geography  supplychains  japan  us  forests  trees  mushrooms  nature  multispecies  labor  morethanhuman 
4 days ago
You Have a New Memory - Long View on Education
"Last night I nearly cleaned out my social media presence on Instagram as I’ve used it about 6 times in two years. More generally, I want to pull back on any social media that isn’t adding to my life (yeah, Facebook, I’m talking about you). Is there anything worth staying on Instagram for? I know students use it to show off the photographic techniques they learn in their digital photography class. When I scrolled through to see what photos have been posted from the location of our school, I was caught by a very striking image that represents a view out of a classroom.

One of the most striking things about Instagram is how students engage with it (likes) way more than they do our school Twitter stream. I care about where their engagement happens since in the last two days of learning conferences, many students told me that they got their news through Snapchat. But neither Instagram nor Snapchat are where I have the interactions that I value.

This poses a serious challenge for teaching media literacy, but also for teaching the more traditional forms of text. With my Grade 9s, we have been reading and crafting memoirs. How does their construction of ephemeral memoirs on Snapchat and curated collections of memories on Instagram shape both how they write and see themselves?

Even though I understand how Snapchat works, I will never understand what it’s like to feel the draw of streaks or notifications. And with Instagram, I’m well past a point where I’m drawn to construct images that vie for hundreds of likes. I’m simply not shaped by these medias in the same way.

Beyond different medias, students really carry around different devices than I do, even though they may both be called iPhones. Few of them read the news on it or need to sift through work emails. But in both cases, these devices form the pathway to a public presentation of self, which is something that I struggle with on many levels. I’m happy to be out here in public intellectual mode sharing and criticizing ideas, and to reflect on my teaching and share what my students are doing, and to occasionally put out parts of my personal life, but I resent the way that platforms work to combine all of those roles into one public individual.

Just this morning, I received the most bizarre notification from my Apple Photos: “You Have a New Memory”. So, even in the relatively private space between my stored photos and my screen, algorithms give birth to new things I need to be made aware of. Notified. How I go about opting out of social media now seems like an easier challenge than figuring out how I withdraw from the asocial nudges that emerge from my own archives."
2017  benjamindoxtdator  instagram  twitter  facebook  algorithms  memory  memories  photography  presentationofself  apple  iphone  smartphones  technology  teaching  education  edtech  medialiteracy  engagement  snapchat  ephemerality  text  memoirs  notifications  likes  favorites 
4 days ago
Close Reading — Real Life
"In transitioning ambient intimacy from one mode to the other, it turns out that our desires are more ambient in text and more intimate when visual. Even among the rather ordinary set of people I follow on Instagram, there is an undercurrent of the erotic more immediate and obvious than on places like Twitter. An ambient sense of social desire is something else when it is visual; we aim to be seen, and are thus asked to be seen in certain ways. And if the camera asks you to be seen, it also offers a chance to determine how you are seen and by whom, this new insistence on the scopophilic turned back against the viewer. I have watched people I know who long seemed to avoid being looked at settle into a new idea of who they are: The ego, once pinched, releases and expands from the center to the skin, a kind of warm fluid of confidence, a body now radiating a newly-minted sense of self-possession. A watchful eye once avoided is reclaimed, welcomed, relished — and so of course, the connective tissue of our communication came to include the image of the body.

There is a tension in this, though. It is hard to separate visual culture from economies of various sorts, from systems of circulation and exchange. The demand to place yourself into the swirl of images comes with certain rules. These are the boundaries of our particular modal shift. One can, for example, embrace body acceptance, can challenge regimes of corporeal domination, but it helps to do so symmetrically, in fashionable clothing, against well-lit backgrounds, engaging in the logic of the rectangular image, augmenting one form of desire with another. When intimacy is a thing to be as much seen as felt, one must, if not contort oneself, at least turn one’s life to the camera. The lens is like a supportive mother believing she is simply doing the right thing: “Be who you are, dear, but at least make yourself presentable.”

Yet there is warmth in the feed of images, too: a steady cavalcade of tiny, precious detail, a gentle flood of affection for both others and ourselves. For the lonely, sitting by themselves in quiet rooms and apartments, it represents an emergent social field, a kind of extra-bodily space in which one communes. The modal shift of ambient intimacy from text to the image is itself a minor analog of the broader one, from mass media to the network, from the body to its holographic pairing. There is in it surveillance and self-surveillance, the insistent saturation of capital down to our most private core. In its most ideal state, the collection of stories on otherwise faceless platforms is like an auditorium of holograms, a community of bodily projections. In those rare moments, one does not find oneself simply alone in the dark and cold, barely lit by a glowing phone. Instead, if only for a fraction of time, it is a field of light made full by incandescent strands of connection, staving off a colourless abyss, an intimate ambience that is — temporarily at least — just enough."
ambientintimacy  socialmedi  twitter  instagram  clivethompson  2017  socialmedia  intimacy  capitalism  capital  loneliness  smartphones  bodies  presentationofself  communication  media  news  photography  imagery  imagessurveillance  self-surveillance  economics 
4 days ago
Certad Talks - Dr. Geetha Narayanan's thoughts on Story as Pedagogy - YouTube
"Dr. Geetha Narayanan's thoughts on Story as Pedagogy at the Certad Talks.
CERTAD TALKS is an initiative to bring together eminent educators, artists, designers, thinkers and practitioners to talk with invited audiences about important aspects of education. Our purpose is to engage with powerful questions, provocative ideas and explore opportunities for innovative and sustainable education practice. We envision CERTAD TALKS will contribute to on going discussions and dialogue on what is valuable in constructing learning today."
geethanarayanan  2014  story  storytelling  pedagogy  slowpedagogy  slow  education  learning  decisionmaking  choices  plurality  multilingualism 
4 days ago
Geetha Narayanan at Conversations with Namu Kini - YouTube
"Geetha Narayanan, founder of Srishti School of Art, Design & Technology & Mallya Aditi International School tells Namu all about her life, work and philosophies. She has founded institutions, raised funds for movements, taught hundreds, inspired many more - and she doesn't seem to be slowing down!"
geethanarayanan  education  india  2013  interviews  technology  slow  slowness  sfsh  learning  pedagogy 
4 days ago
More Seymours than Women: Imaginaries of Tomorrow - Long View on Education
"In Will Richardson and Bruce Dixon’s 10 Principles for Schools of Modern Learning, they present their imaginary about tomorrow: “Experts who study the world of work are growing more and more concerned that current systems of education are increasingly irrelevant when it comes to the preparation of students for what is a fast-changing and uncertain future of employment. … Regardless what the future holds, there is little doubt success in the future will first and foremost depend on one’s ability to learn, not on one’s accumulation of knowledge.”

Elsewhere, Richardson writes that “The most successful workers in the future will be those who are used to thinking and acting entrepreneurially. Princeton University professor Anne-Marie Slaughter suggests that a winning strategy for the future of work is to be able to ‘design your own profession and convince employers that you are exactly what they need.’ Or, as The New York Times columnist Thomas Friedman’s recent column declared, ‘Need a job? Invent it.'”

So, in their imaginary, success is tied to ability to learn, entrepreneurship, flexibility, and self-sufficiency. As I write in a recent review, this idea of education is premised on leaving people behind. The Disappointed Idealist makes a strong case that education as social mobility is based theories of the undeserving poor. Writing about their own children, they note:
“Yet their likely outcomes, their aspirations, and even the place they live – a seaside English town – are routinely condemned as failures by the dominant educational discourse. Unless they get results they can’t get, aspire to jobs they don’t want, and move to a place they do not wish to live in, then they have failed the social mobility test. They are undeserving. And the conditions which our society reserves for those who cannot or will not ‘escape’ from the reality of their lives are grim, and getting grimmer: zero-hours contracts, below-poverty pay, insecure housing, a punitive benefits system, and the gradual withdrawal of all manner of support from education, health and social services.”

So, we face a futurist deficit that we must address, not by keeping the same questions and filling out the ranks with ‘diverse’ people, but by asking better questions. In an article called Where are the Black Futurists?(2000), the author (listed as ‘Black Issues’) reflects on an all white male C-SPAN futurist panel:
“there are too many people talking about the future without considering the future of African Americans and other people of color.

By not considering us, is the majority implicitly suggesting that we don’t matter? Do they think that as America ages, we will continue to play the traditional service and support roles for their communities? When I hear estimates from the U.S. Department of Labor that we’ll need nearly a million home health aides in the next decade, and I know that most home health aides now are Black and Brown women, I conclude that unless the wage structure changes, the future implications for those women and their families are frightening.

But the futurists mainly seem to be predicting what an aging society will need without predicting who will provide it.”

I write from a privileged position, working in a well-resourced and professionally supportive international school. My students have sources of privilege and power in their lives, and I’m pretty confident that many will be able to fit into the standard futurist imaginaries because of a good education and how privilege has shaped their life chances. It’s especially because of my context that I resist the imaginaries that will leave many behind. Schools need to change and be better to serve youth, and not just serve them up to grim futurist imaginaries."
benjamindoxtdator  diversity  gender  education  thoughtleaders  willrichardson  brucedixon  privilege  power  economics  futurism  futurists  future  edtech  labor  society  inequality  capitalism  2017  californianideology 
4 days ago
The Steam Controller: An Analysis - Part 1 - YouTube
"This full length feature documentary explores the origins of the Steam Controller, the complication of controller usage, and the importance the Steam Controller and its software has on gaming as a whole."

[Part 2: https://www.youtube.com/watch?v=7nLwRX98MJo ]

[via: "This Steam Controller analysis may make you rethink Valve’s PC gamepad"
https://venturebeat.com/2017/07/10/this-steam-controller-analysis-may-make-you-rethink-valves-pc-controller/ ]
steamcontoller  input  gamecontrollers  videogames  games  gaming  2017  jamesminicki 
5 days ago
SOLARPUNK : A REFERENCE GUIDE – Solarpunks – Medium
"Solarpunk is a movement in speculative fiction, art, fashion and activism that seeks to answer and embody the question “what does a sustainable civilization look like, and how can we get there?” The aesthetics of solarpunk merge the practical with the beautiful, the well-designed with the green and wild, the bright and colorful with the earthy and solid. Solarpunk can be utopian, just optimistic, or concerned with the struggles en route to a better world — but never dystopian. As our world roils with calamity, we need solutions, not warnings. Solutions to live comfortably without fossil fuels, to equitably manage scarcity and share abundance, to be kinder to each other and to the planet we share. At once a vision of the future, a thoughtful provocation, and an achievable lifestyle.
In progress…"

[See also:
http://solarpunks.tumblr.com/post/165763925033/solarpunk-a-reference-guide-solarpunks

"This page is an attempt to open up the optics of the Solarpunk community/genre for newcomers and others looking for references. A lot of the early discussions happened on tumblr dot com from 2014 onward after @missolivialouise‘s character concept post took off — with a core community of stewards who know who they are.

What follows is not meant to be an exhaustive list but hopefully will increasingly become one. We’re also aware that we are missing almost all of the art references from this list. :(

We also didn’t include any posts from us here at http://solarpunks.tumblr.com

Please get in touch (DM) with art and their references as a lot of content has lost their attribution  — @thejaymo"]
solarpunk  reference  speculativefiction  art  fashion  activism  sustainability  civilization  utopia  dystopia  optimism  kindness  future  futurism 
5 days ago
‘My God, it’s better’: Emma can write again thanks to a prototype watch, raising hope for Parkinson’s disease – Transform
"As they got to know one another, the question became: Could Zhang’s tech skills help alleviate Lawton’s loss of writing function?

Certainly, that challenge meshed with Zhang’s passion: technology for good, the idea that society can advance through tech evolution. She’s equally drawn to the Maker movement, a global culture that blends DIY sensibilities with modern engineering, fueling altruistic folks to devise and share innovations that help the world.

Zhang infuses that spirit into her job, innovation director at Microsoft Research Cambridge in England. She’s involved in initiatives spanning the play and health spaces. For example, her team is developing a project called Fizzyo, a connected device for kids with Cystic Fibrosis that turns their daily physiotherapy exercises into a video game experience. She’s also working with colleagues to develop Project Torino, a set of physical blocks that helps children with visual impairments learn computer programming.

Lawton, in turn, saw tangible hope in a woman with a mind bright enough to unsnarl brain complexities and a will strong enough to make a fresh assault on a very old problem. Lawton was also open to trying anything, decrying a lack of new Parkinson’s treatments during her lifetime – as well as medications that can make her days harder by triggering more symptoms.

“Technology is sliding in lately and helping with the symptomatic relief and to make life easier,” Lawton says. “That’s where I’m interested. The whole idea of tech for good.

“But more than anything, I just wanted to be able to write my name properly.”

♦♦♦♦♦

The moment of truth begins with two surprised gasps.

Oooh! Oooh!” Lawton chirps, feeling the watch start to vibrate through her right wrist. She uses her left hand to place a green marker in her right. Then she attempts to draw the first letter in her name. She doesn’t expect it to work.

It does. With the tremors reduced, Lawton pens a perfectly round “e.” The other three letters follow, equally tidy. She cries, something she does when she’s happy. Zhang puts her hand to her mouth and utters, “Oh my God.

“So many things are rushing through my head, all banging around in there,” Lawton recalls later. “Like, is this a one-off? I’m excited and nervous, is it from that? I’m forgetting I have a tremor.

“I look at Haiyan and she’s shell-shocked too. But then I’m panicking: Will it happen again?”

It does. Lawton next draws a straight line. Then a small square. Then a larger rectangle. All are crisp and sharp. The two collaborators hug. Then Lawton phones her mother to report the news – and to tell her the device is officially called “the Emma Watch.” The moment was recorded for a BBC documentary show, “The Big Life Fix.”

“I was in disbelief,” Zhang recalls. “As someone who works in technology and thinks about new kinds of things, I don’t really see the impact of that on people’s lives or on an individual. For me, it was so powerful to see her life made better.”

“To be able to write your name is a basic human right,” Lawton says later. “To be able to do it and do it neatly is really special to me now. It’s empowering. It made me feel that I could do anything.”"

[direct link to video: https://www.youtube.com/watch?v=k9Rm-U9havE ]
parkinson'sdisease  health  technology  haiyanzhang  accessibility  disability  tremors  assistivetechnology  emmalawton 
5 days ago
Blind Birdwatcher Sees With Sound - YouTube
"Juan Pablo Culasso is a birdwatcher in Uruguay, but he doesn't see birds the way that most birdwatchers do. In fact, he doesn’t see them at all. Born without sight, Culasso listens to the birds and has developed a keen ability to identify their distinct calls and melodies. He has also embarked on a quest to record their sounds to help conserve his country's natural heritage in an audio archive."

[via: http://thekidshouldseethis.com/post/blind-birdwatcher-sees-with-sound ]
birds  blind  birding  sound  nature  animals  classideas  juanpabloculasso  birdsongs  2017 
5 days ago
Gig Posters for Scientists | Flickr
"Hand screen printed posters for distinguished scientists visiting UNC Chapel Hill Biology."
posters  science  via:unthinkingly  biology  scientists 
10 days ago
Equitable Schools for a Sustainable World - Long View on Education
"“The classroom, with all its limitations, remains a location of possibility. In that field of possibility we have the opportunity to labor for freedom, to demand of ourselves and our comrades, an openness of mind and heart that allows us to face reality even as we collectively imagine ways to move beyond boundaries, to transgress. This is education as the practice of freedom.” bell hooks

Instead of writing a review of Different Schools for a Different World by Scott McLeod and Dean Shareski, I want to try reading it differently, from back to front. I’ll start with the last topic, equity, and then proceed to talk about: innovation, boredom, learning, economics, and information literacy. But first, I want to touch on the book’s epigraph: Seth Godin tells us to “Make schools different.”

Different is an interesting word. It’s certainly a different word from what people have used to call for educational transformation in the past. If we were to draw up teams about educational change, I’m confident that McLeod, Shareski, and I would all be against the authoritarian ‘no excuses’ strand of reform that fears student agency. We’re also for meaningful engagement over glittery entertainment.

Yet, we also part ways very quickly in how we frame our arguments. They argue that we should “adapt learning and teaching environments to the demands of the 21st Century.” Our “changing, increasingly connected world” speeds ahead, but “most of our classrooms fail to change in response to it.” I start from a different position, one that questions how the demands of the 21st Century fit with the project of equity."



"What makes McLeod and Shareski’s take different from the long history of arguments about schools? Here’s their answer:

“In some respects, the concerns in this book are no different from the concerns of the authors of A Nation at Risk… We agree schools need to change, but that change should have to do with a school’s relevance, not just with its achievement scores.”

I think that relevance is exactly the right word, but we must ask relevant to what?

Their answer is the “demands of the 21st Century” that come from “shifting from an industrial mode to a global model and innovation model.” In Godin’s book, he presents the data center as a source of individual opportunity. While that can be true, the number of well-paying jobs at Google and Youtube stars will always be limited. Freedom of expression and civic participation can’t flourish in an age of economic precarity.

So what are the alternatives?

Jennifer M. Silva writes a counter-narrative to the worship of self-sufficiency and competition, and exposes “the hidden injuries of risk”, which often lead to isolation, a hardening of the self, and tragedy. One of her interview subjects died because she lacked affordable health-care.

What Silva finds is that “working-class young adults… feel a sense of powerlessness and mystification towards the institutions that order their lives. Over and over again, they learn that choice is simply an illusion.” Writing in a global context, (2014), Alcinda Honwana gives a name – waithood – to this experience of youth who are “no longer children in need of care, but … are still unable to become independent adults.” Honwana explicitly rejects the idea that waithood represents a “failed transition on the part of the youth themselves,” and she carefully documents the agency of the youth she interviewed in South Africa, Tunisia, Senegal, and Mozambique.
“Young people I interviewed showed strong awareness of the broader socio-economic and political environments that affect their lives. They are acutely conscious of their marginal structural position and they despise and rebel against the abuse and corruption that they observe as the elites in power get richer and they become poorer … They are critical of unsound economic policies that focus on growth but do not enlarge the productive base by creating more jobs.”

There’s no sustainable future in Western countries measuring educational success by the extent to which they out-compete the globalized Other. In her conclusion, Silva presents Wally, who is like her other working-class interview subjects in every respect except his political activism, as a token of hope. Instead of privatizing his problems, he is able to translate them into political issues. The alternative lies not in making schools different, but making the world ‘different’, sustainable, and just."
benjamindoxtdator  2017  equality  equity  socialjustice  schools  sustainability  education  children  economics  globalization  competition  bellhooks  scottmcleod  deanshareski  litercy  infoliteracy  sethgodin  capitalism  digitalredlining  digitaldivide  chrisgilliard  marianamazzucato  hajoonchang  innovation  labor  work  rosslevine  yonarubinstein  jordanweissman  aliciarobb  carljames  race  class  boredom  richardelmore  mikeschmoker  robertpianta  johngoodlad  engagement  passivity  criticism  learning  howwelearn  technology  johndewey  democracy  efficiency  davidsnedden  neoliberalism  richardflorida  tonyagner  erikbrynjolfsson  andremcafee  carlbenediktfrey  michaelosborne  davidautor  inequality  surveillance  surveillancecapitalism  shoshanazuboff  jonathanalbright  henrygiroux  jennifersilva  alcindahonwana  change  precarity 
10 days ago
Front Matter | How People Learn: Brain, Mind, Experience, and School: Expanded Edition | The National Academies Press
"Expanded Edition
How People Learn
Brain, Mind, Experience, and School
Committee on Developments in the Science of Learning

John D.Bransford, Ann L.Brown, and Rodney R.Cocking, editors

with additional material from the
Committee on Learning Research and Educational Practice

M.Suzanne Donovan, John D.Bransford, and James W.Pellegrino, editors

Commission on Behavioral and Social Sciences and Education
National Research Council
NATIONAL ACADEMY PRESS
Washington, D.C."
via:lukeneff  learning  books  toread  brain  howwelearn  schools 
10 days ago
The Uber Game
"This news game is based on real reporting, including interviews with dozens of Uber drivers.

For the best experience, please view this game in the latest version of Chrome, Safari or Firefox on desktop, or on the latest version of iOS or Android on mobile devices. Other browsers or versions may not be fully supported."

[via: "We made an @FT #newsgame!! Can you make it as an Uber driver for a week? "
https://twitter.com/RobinKwong/status/915829910358310912 ]
uber  games  gaming  seriousgames  videogames  labor  work  gigeconomy 
10 days ago
Untitled Goose Game
"It's a lovely weekday morning in the village and you are a horrible goose.

A new game by the people who made Push Me Pull You, coming 2018.

(screenshots here, mailing list here)"

[via: https://twitter.com/house_house_/status/915460576872038405 ]
games  gaming  videogames  geese  animals  multispecies  morethanhuman 
10 days ago
Ellen Ullman: Life in Code: "A Personal History of Technology" | Talks at Google - YouTube
"The last twenty years have brought us the rise of the internet, the development of artificial intelligence, the ubiquity of once unimaginably powerful computers, and the thorough transformation of our economy and society. Through it all, Ellen Ullman lived and worked inside that rising culture of technology, and in Life in Code she tells the continuing story of the changes it wrought with a unique, expert perspective.

When Ellen Ullman moved to San Francisco in the early 1970s and went on to become a computer programmer, she was joining a small, idealistic, and almost exclusively male cadre that aspired to genuinely change the world. In 1997 Ullman wrote Close to the Machine, the now classic and still definitive account of life as a coder at the birth of what would be a sweeping technological, cultural, and financial revolution.

Twenty years later, the story Ullman recounts is neither one of unbridled triumph nor a nostalgic denial of progress. It is necessarily the story of digital technology’s loss of innocence as it entered the cultural mainstream, and it is a personal reckoning with all that has changed, and so much that hasn’t. Life in Code is an essential text toward our understanding of the last twenty years—and the next twenty."
ellenullman  bias  algorithms  2017  technology  sexism  racism  age  ageism  society  exclusion  perspective  families  parenting  mothers  programming  coding  humans  humanism  google  larrypage  discrimination  self-drivingcars  machinelearning  ai  artificialintelligence  literacy  reading  howweread  humanities  education  publicschools  schools  publicgood  libertarianism  siliconvalley  generations  future  pessimism  optimism  hardfun  kevinkelly  computing 
10 days ago
OBJECT AMERICA
"The Observational Practices Lab, Parsons, (co-directed by Pascal Glissmann and Selena Kimball) launches a multi-phase project and investigation, OBJECT AMERICA, to explore the idea of “America” through everyday objects. The aim is to use comparative research and observational methods—which may range from the scientific to the absurd—to expose unseen histories and speculate about the future of the country as a concept. The contemporary global media landscape is fast-moving and undercut by “fake news” and “alternative facts” which demands that students and researchers build a repertoire of strategies to assess and respond to sources of information. For the first phase of OBJECT AMERICA launching in the fall of 2017, we invited Ellen Lupton, Senior Curator of Contemporary Design at Cooper Hewitt, Smithsonian Design Museum, to choose an object for this investigation which she believed would represent “America” into the future (she chose the Model 500 Telephone by Henry Dreyfuss designed in 1953). Researchers will investigate this object through different disciplinary lenses — including art, climate science, cultural geography, data visualization, economics, history of mathematics, medicine, media theory, material science, music, poetry, and politics — in order to posit alternative ways of seeing."

[via: https://twitter.com/shannonmattern/status/915366114753990660 ]
objects  pascalglissmann  selenakimball  ellenlupton  art  climate  science  culturalgeography  datavisualization  economics  mathematics  math  medicine  mediatheory  materialscience  music  poetry  politics  seeing  waysofseeing  geography  culture  history  climatescience  dataviz  infoviz 
10 days ago
Fun with Flags: Redesigning San Francisco’s City Flag
"I was inspired to give an assignment to my design class to redesign San Francisco’s flag after reading Roman Mars’ Wired magazine article about our current “sucktastic” city flag.

These San Francisco Flag sketches were produced during a weekend design class, at the Bay Area Video Coalition (BAVC), as a study of design principles, in January 2016.

The class was given about an hour to work on the assignment of designing a new San Francisco city flag. We had been learning about design theory and sketching earlier in the day using design principles such as symmetry, equilibrium, and proximity. We brainstormed together to create a list of things we associate with San Francisco’s past and present. We agree with Roman Mars that the Phoenix symbol is irrelevant to San Francisco and confusing since there is another city named Phoenix. Here is our list of our iconic San Francisco associations:

> The Bay and Ocean
> Golden Gate Bridge
> Coit Tower
> Transamerica Pyramid
> The City Skyline
> Gold Rush
> Open Minds
> Diverse
> Pride
> Lack of Housing
> Tech
> Fog

San Francisco Flag Redesign

Below are designs each design workshop attendee came up with."
sanfrancisco  flags  symbols  sfsh 
17 days ago
The Mind of John McPhee - The New York Times
"Much of the struggle, for McPhee, has to do with structure. “Structure has preoccupied me in every project,” he writes, which is as true as saying that Ahab, on his nautical adventures, was preoccupied by a certain whale. McPhee is obsessed with structure. He sweats and frets over the arrangement of a composition before he can begin writing. He seems to pour a whole novel’s worth of creative energy just into settling which bits will follow which other bits.

The payoff of that labor is enormous. Structure, in McPhee’s writing, carries as much meaning as the words themselves. What a more ordinary writer might say directly, McPhee will express through the white space between chapters or an odd juxtaposition of sentences. It is like Morse code: a message communicated by gaps."



"“Draft No. 4” is essentially McPhee’s writing course at Princeton, which he has been teaching since 1975. This imposes a rigid structure on his life. During a semester when he teaches, McPhee does no writing at all. When he is writing, he does not teach. He thinks of this as “crop rotation” and insists that the alternation gives him more energy for writing than he would otherwise have.

McPhee’s students come to his office frequently, for editing sessions, and as they sit in the hallway waiting for their appointments, they have time to study a poster outside his door. McPhee refers to it as “a portrait of the writer at work.” It is a print in the style of Hieronymus Bosch of sinners, in the afterlife, being elaborately tortured in the nude — a woman with a sword in her back, a small crowd sitting in a vat of liquid pouring out of a giant nose, someone riding a platypus. The poster is so old that its color has faded.

David Remnick, the editor of The New Yorker, where McPhee has been a staff writer for more than 50 years, took McPhee’s class in 1981. “There was no fancy discussion of inspiration,” he told me. “You were in the room with a craftsman of the art, rather than a scholar or critic — to the point where I remember him passing around the weird mechanical pencils he used to use. It was all about technique. In the same spirit that a medical student, in gross anatomy, would learn what a spleen is and what it does, we would learn how stuff works in a piece of writing.”

Much of that stuff, of course, was structure. One of Remnick’s enduring memories is of watching Professor McPhee sketch out elaborate shapes on the chalkboard. One looked like a nautilus shell, with thick dots marking points along its swirl. Each of these dots was labeled: “Turtle,” “Stream Channelization,” “Weasel.” Down the side of the chart it said, simply, “ATLANTA.” An arrow next to the words “Rattlesnake, Muskrat, etc.” suggested that the swirl was meant to be read counterclockwise."



"John McPhee lives, and has almost always lived, in Princeton. I met him there in a large parking lot on the edge of campus, next to a lacrosse field, where he stood waiting next to his blue minivan. He wore an L.L. Bean button-down shirt with khaki pants and New Balance sneakers. The top half of his face held glasses, the bottom a short white beard that McPhee first grew, unintentionally, during a canoe trip in the 1970s and has not shaved off since. He is soft-spoken, easy and reserved. Although McPhee possesses intimidating stores of knowledge — he told me, as we walked around campus, the various geological formations that produced the stone used in the buildings — he seems to go out of his way to be unintimidating. Whenever we stepped outside, he put on a floppy hat.

McPhee proceeded to show me every inch of Princeton, campus and city, narrating as we went. I’m not sure I’ve ever seen anyone so thoroughly identified with a place. His memories are archaeological, many layers deep. Not 30 seconds into our orienting drive, we passed the empty lot where he used to play tackle football as a child, and where, at age 10, he first tasted alcohol. (“One thing it wasn’t was unpleasant,” he wrote recently.) The lot is no longer empty; it is occupied by a new house, boxy and modern. I asked McPhee if he felt any animosity toward the structure for stomping out his memories.

“No,” he said. “I’ve had a lot of stomping grounds stomped out.”

McPhee was born in 1931. His father was the university’s sports doctor, and as a boy McPhee galloped after him to practices and games. By age 8, he was running onto the field alongside Princeton’s football team, wearing a custom-made miniature jersey. He played basketball in the old university gym, down the hall from his father’s office; when the building was locked, he knew which windows to climb in. McPhee was small and scrappy, and he played just about every sport that involved a ball. To this day, he serves as a faculty fellow of men’s lacrosse, observing Princeton’s practices and standing on the sidelines during games.

Every summer growing up, McPhee went to a camp in Vermont called Keewaydin, where his father was the camp doctor. One of his grandsons goes there today. (“I have 200 grandchildren,” McPhee told me; the number is actually 10.) McPhee speaks of Keewaydin as paradise, and his time there established many of the preoccupations of his life and work: canoeing, fishing, hiking. “I once made a list of all the pieces I had written in maybe 20 or 30 years, and then put a check mark beside each one whose subject related to things I had been interested in before I went to college,” he writes in “Draft No 4.” “I checked off more than 90 percent.” Keewaydin put McPhee into deep contact with the American land, and introduced him to the challenge of navigation — how the idealized abstractions of plans and maps relate to the fertile mess of the actual world. The camp’s infirmary is now officially named after McPhee’s father. McPhee’s own name still sits in the rafters, an honor for having been the second-most-accomplished camper in 1940, when he was 9."



"McPhee is a homebody who incessantly roams. He inherited Princeton and its Ivy League resources as a kind of birthright, but he comes at the place from an odd angle: He was not the son of a banker or a politician or some glamorous alumnus but of the sports doctor. His view of the university is practical, hands-on — it is, to him, like a big intellectual hardware store from which he can pull geologists and historians and aviators and basketball players, as needed, to teach him something. He is able to run off to Alaska or Maine or Switzerland or Keewaydin because he always knows where he is coming back to.

“I grew up in the middle of town,” McPhee said. “It’s all here.”

McPhee took me to his office in the geology building, in a fake medieval turret that, before he moved in, was crowded with paint cans. Now its walls are full of maps: the Pacific Ocean floor, United States drainage, all the world’s volcanoes. On the carpet in the corner of the room, a box sat stuffed with dozens more, from the center of which protruded, almost shyly, a folded map of Guayaquil, Ecuador. His enormous dictionary, open to the letter P, sat on top of a minifridge. Multiple shelves were loaded with books published by former students, above which stood framed photos of McPhee’s wife, Yolanda, and his four daughters.

McPhee sat down at his computer and clicked around. Green text appeared on a black screen. That was all: green text. No icons, rulers, or scrollbars.

McPhee began to type in command lines.

x coded.*

dir coded.*

x coded-10.tff

x coded-16.tff

Up came portions of his book “The Founding Fish.” He typed in further commands, and hunks of green text went blinking around: a complete inventory of his published articles; his 1990 book, “Looking for a Ship.”

I felt as if I were in a computer museum, watching the curator take his favorite oddity for a spin. McPhee has never used a traditional word processor in his life. He is one of the world’s few remaining users of a program called Kedit, which he writes about, at great length, in “Draft No. 4.” Kedit was created in the 1980s and then tailored, by a friendly Princeton programmer, to fit McPhee’s elaborate writing process.

The process is hellacious. McPhee gathers every single scrap of reporting on a given project — every interview, description, stray thought and research tidbit — and types all of it into his computer. He studies that data and comes up with organizing categories: themes, set pieces, characters and so on. Each category is assigned a code. To find the structure of a piece, McPhee makes an index card for each of his codes, sets them on a large table and arranges and rearranges the cards until the sequence seems right. Then he works back through his mass of assembled data, labeling each piece with the relevant code. On the computer, a program called “Structur” arranges these scraps into organized batches, and McPhee then works sequentially, batch by batch, converting all of it into prose. (In the old days, McPhee would manually type out his notes, photocopy them, cut up everything with scissors, and sort it all into coded envelopes. His first computer, he says, was “a five-thousand-dollar pair of scissors.”)

Every writer does some version of this: gathering, assessing, sorting, writing. But McPhee takes it to an almost-superhuman extreme. “If this sounds mechanical,” McPhee writes of his method, “its effect was absolutely the reverse. If the contents of the seventh folder were before me, the contents of twenty-nine other folders were out of sight. Every organizational aspect was behind me. The procedure eliminated nearly all distraction and concentrated just the material I had to deal with in a given day or week. It painted me into a corner, yes, but in doing so it freed me to write.”"



"McPhee’s great theme has always been conservation, in the widest possible sense of the word: the endless tension between presence and absence, staying and leaving, existence … [more]
johmcphee  writing  howwewrite  structure  2017  conservation  princeton  place  humility  process  kedit  organization  belonging  local  gaps  shyness  celebration  nature  geology  time  editing  outlining  naturalhistory  history  maps  mapping  writingprocess  focus  attention  awareness  legacy 
17 days ago
Uses This / Sara Hendren
"In Jack Miles's parlance, I'm much more a hunter than a farmer, so the most important work I do is a slow-thinking and non-linear process. For hardware, like a lot of design folks, I live and die by notebooks and pens to capture immediately when I'm making connections. I'm literally never without this combination because I find my inner two-way tape is always running, especially in the grip of a big unwieldy project: formulating and synthesizing and outputting ideas at unexpected times and places."



"Lastly: my husband and I figured out that having all five family members use the exact same Lunch Bots containers makes our mornings much easier. And I realized about a year ago that all three of my kids can now wear the same ankle socks that I do. Small streamlining victories! A few years back I would have listed my encyclopedic knowledge of little-kid hardware: cloth diapers, baby carriers, and strollers-for-cities. If you're in that stage, well -- high five, comrade. It gets easier."



"Bonus question that I'm gonna add here: What systems also support your getting things done?

Glad you asked! The Writers' Room of Boston is giving me a fanatically quiet, affordable place to co-work this year. But more profound than that: my kids attend a Title I public school, where there are structures in place that anticipate and plan for full-time working parents. We have high-quality after-school programs and summer camps run through the city, extra specialists in the building, small classroom numbers, and full-day inclusion services for our child who has significant support needs. Our public library system elected to eliminate late fees for children's books(!), so that keeps us swimming in great reading material at home. There's no quantifiable metric I could place on these systems for making our life work."
sarahendrein  thesetup  usesthis  2017  systems  tools  publicschools 
18 days ago
The Transformative Experience of Writing for “Sense8” | The New Yorker
"A large number of the American writers I know, and I know a few, are involved in writing or developing long-form narrative television. One reason for this was recently provided by John Landgraf, the C.E.O. of FX Network, who said that four hundred and fifty-four scripted original series had aired in the U.S. in 2016; he thought that the number could rise to five hundred this year. Apparently, the industry needs writers and, black-hole-like, is sucking in galaxies of them. Until I was asked to work on “Sense8,” I’d never been interested in that particular black hole, even though I had come to believe that American television had overtaken narrative literature in its ability to deal with contemporary realities. No novel has addressed the Bush years’ crypto-fascist notion of “leadership” with the same clarity of thought as “The Sopranos.” If you wanted to understand the waste laid by the so-called War on Drugs, you wouldn’t read a novel—you’d watch “The Wire.” Television, in other words, offers opportunities to confront and report from the world as it changes.

Before “Sense8,” my screenwriting experience consisted of co-authoring a script with the Bosnian director Jasmila Žbanić for her comedy “Love Island,” in 2014. The rest of my writerly life had taken place in the self-imposed isolation of my head. I don’t take part in workshops or writing groups; I don’t share ideas or drafts with my fellow-writers for feedback; I make all the decisions and am responsible for every word in the book that I am writing, acknowledgments included. My solipsistic authorial habits would seem to feed into a common misconception about writing, which is that it is merely a conduit for the writer’s interiority, and that a good writer—or even just a capable one—possesses the skills to transfer the contents of that interiority onto the page with as little loss as possible. Much of the creative-writing industry depends upon that misconception and the promise, implicit or explicit, that the acquisition of those skills is unconditionally achievable. I’ve grown to be suspicious of that notion, as I have learned that writing generates the content and therefore transforms—or even creates—the interiority. Writing is a means of interaction with the world, and therefore it changes the writer. If it doesn’t, it contains no discovery and merely reproduces the already known and familiar. Writing, I believe, should be a matter not of execution but of transformation.

My screenwriting experience confirmed my belief. While Lana, Lilly, and Joe were responsible for the foundations of the show—for all the characters and their narrative trajectories—my role was to make proposals that would be taken up by the other people in the room and spun around a few times. The version of the proposal that emerged would have little to do with the original, yet belonged to me as much as to everyone else. In the course of one of those spins, I realized that, whenever I spoke or listened to someone, I was looking at the center of a circle that was delimited by the participants. Somehow, we started calling this space, and the collaboration that it housed, the Pit. A whole Pit-related phraseology soon emerged: “I’m going to throw this into the Pit.” “Let’s spin it in the Pit.” “The Pit concurs.” “The Pit needs a pendulum.” I enjoyed losing myself in the process, which felt all the more fascinating for the fact that the distinguishing characteristic of the heroes of “Sense8” is an ability to inhabit someone else’s mind. All this may be yesterday’s news to the film, television, and theatre people out there, but I’d never experienced the pleasure of temporarily losing my intellectual sovereignty—of watching my bright idea be destroyed, only to be transformed into something entirely different.

After that week in 2015, David and I went back home. (My home is about five blocks away from Kinowerks; David’s is in Ireland.) For the rest of the year, we were regularly assigned scenes to write on short deadlines. Cognizant of their place and role in the larger narrative, we were tasked with working out the dialogue and the details, tossing in our suggestions for a remote Pit spin. “The Wolfgang and Lila dinner, 2-3 pages, tomorrow,” Lana would write in an e-mail. The following day I’d submit the requested two to three pages. Lana and Joe would perform the bulk of the Pit work, developing, amending, or just rejecting the pages we sent in. Over the course of three months or so, I sent in some hundred and twenty pages, happy in the knowledge that not a single one of them would make it to the final seven-hundred-page script in the form in which I had written it."



"In my literary projects, the plotless structures I gravitate toward allow me to seek connections and meanings that emerge primarily not from characters and events but from language and the potentialities of thought within it. I think inside endless semantic, syntactic, rhythmic variations. Both David and I were continuously tempted to apply our respective colored pencils to the pages of the script (David’s grammatically persnickety alter ego is named Lawrence and likes to use a green pen), but there was little time and even less need to attend to the language in the way we were accustomed to. We did, however, often discuss the structure of individual events and their positioning in the larger plot. For instance, the second season of “Sense8” ended with a cliffhanger, the resolution of which would necessarily prohibit certain future plotlines. There was, nevertheless, an infinite number of possibilities for the plot that would follow; not unlike language, our plot was a discrete combinatory system, in which from a finite number of elements any number of combinations could be made. From our respective couches (which Lana, David, and I named, for reasons that I cannot explain here, “Illumination,” “Ireland,” and “Doom,” respectively), before making any notes, we spent hours reshuffling the abstract, as yet nonexistent structure of the story.

During one of those sessions, I had a near-Proustian involuntary memory of a time, some thirty years ago, when I was a freshman at an engineering college. My friend and I were studying together for an advanced-differential-calculus exam, solving tough integral problems, until we ran into one that we could not break. For two days, for at least twelve hours a day, we sought a solution; the process required reducing the integral to some identifiable type and then applying a preëxisting algorithmic protocol. (We finally called in a math-genius friend, who looked at the unbreakable integral and solved it in just a couple of steps.) The memory made me realize that plotting a narrative is a logical, algorithmic operation, albeit one that has an infinite number of possible outcomes, rather than one correct resolution. Building a plot is like creating an algorithm from scratch, starting before the problem is even defined and then backtracking after the desired solution has been selected.

The memory also suggested that my subconscious was following a logical algorithm. My dreams are usually amorphous, featuring a field of confusingly connected events—a description that also applies to most of my work, as well as to my waking mind. The subconscious authority governing my dream life, however, had lately begun to insist that the events and the characters in my dreams be logically connected, that they follow one another causally. In recent dreams, I’ve struggled to connect discrete events, so much so that I’ve woken in despair. Once, I dreamed that I was a screenwriter trying to untangle a plot knot. Some dreams have featured “Sense8” characters, others those from the New Project, who sometimes act like real people in my dreams and are sometimes just structural problems that I have to solve.

Back in my early years in the U.S., at the time when my English was in transition from tourist to survival mode, I’d catch myself dreaming in English, and noticing, in my dream, that the people who shouldn’t be talking in English were doing so. Even more bizarrely, I would recollect English conversations with my family or friends, which would certainly have taken place in our native language. I interpreted those dreams and memories as my subconscious mind welcoming this non-native language. If I hadn’t absorbed the new language in that way, I wouldn’t have been able to write any of the books I’ve written in English, or to have lived a full life in this language. I am writing this on the last day of the Pit’s screenwriting session, overwhelmed by the feeling that the sandbox is about to be dismantled, that my friends will go back to their separate lives and careers, and that, very soon, I’ll be returning to my former, stark, monastic literary practices. What the experience of exultant plotting at Kinowerks may have done to my mind, I cannot begin to know, at least not yet."
aleksandarhemon  2017  writing  sense8  collaboration  collaborativewriting  english  languageacquisition  dreams  dreaming  memory  kinowerks  television  screenwriting  howwewrite 
18 days ago
Fall In | Submitted For Your Perusal
"I’m writing this on the first day of fall in the Northern Hemisphere.

Depending upon where you are, it might not feel like fall yet. Right now, for instance, it’s 92°F outside where I live. And humid. More summer than fall. Yet, at the same time, school’s back in session, football is being played, and Halloween paraphernalia is appearing in stores.

The leaves on one of the trees outside my window are starting to change color. Some leaves have even started to fall. It’s getting darker earlier and lighter later. And even though it’s still hot out during the day, it’s cooling down more at night.

Change is in the air.

This leads to a question: Should one also change in conjunction with the seasons? By this I mean more than donning a natty scarf when the temperature drops below a certain level—I mean changing things about the way you eat, sleep, live, and work.

Conventional productivity advice doesn’t really take up this question. One of the things, in fact, that irks me about such advice is that it tends to frame things in terms of daily routines, routines that are ostensibly the same regardless of the season. In other words, most productivity advice is seasonless. Here I’m thinking of things like Mason Currey’s engrossing 2013 book Daily Rituals and Tim Ferriss’s more tech bro-y late-2016 knockoff Tools for Titans.

Now, I’m as interested in famous people’s daily routines as anyone. But at the same time, I feel it’s important to resist the tyranny of “the day.”

What do I mean by that?

Well, we live in a world of seasons—and increasingly more variable and violent seasons at that—but productivity advice seems to always think in terms of the day, the week, the year, or five years, never the season, the sun, and the shadow.

In Lewis Mumford’s endlessly-rich 1937 book Technics and Civilization, he explains how the clock altered human relations by organizing everything around twenty-four little hours instead of, say, the rhythm of the seasons.

The consequences of this, Mumford argues, are profound:
When one thinks of the day as an abstract span of time, one does not go to bed with the chickens on a winter’s night: one invents wicks, chimneys, lamps, gaslights, electric lamps, so as to use all the hours belonging to the day. When one thinks of time, not as a sequence of experiences, but as a collection of hours, minutes, and seconds, the habits of adding time and saving time come into existence.

Because of the clock, Mumford continues, “Abstract time became the new medium of existence. Organic functions themselves were regulated by it: one ate, not upon feeling hungry, but when prompted by the clock: one slept, not when one was tired, but when the clock sanctioned it. A generalized time-consciousness accompanied the wider use of clocks: dissociating time from organic sequences….”

Since we all pretty much live according to “clock time” now, the autumnal equinox presents us with an opportunity to cast off our Apple Watches and reflect on some of the benefits of living according to what might be called “seasonal time.” To that end, I encourage you to step out of “clock time” and into “seasonal time.”

This will, no doubt, strike some as unappealing. Many people see nature as something to overcome or counteract, not as something to flow with or submit to. For others, it will be impossible. “Clock time” is simply imposed on them too strongly. But if you can do it, even just a little bit, I strongly recommend it, if only for the perspective it brings.

To quote Ecclesiastes 3:1, “To every thing there is a season.” What if we took that adage seriously, not just by buying pumpkin spice lattes but by doing key things in a more fall-like way? Fall-like might take different forms. The point is to embrace fall in particular and seasonal change in general. I’m definitely not recommending becoming “Mr. Autumn Man”. I’m talking about something else, something deeper.

One example I like is how novelist Lee Child sits down every September and begins work on a new Jack Reacher novel. He finishes up sometime the following spring and then spends the rest of the year doing other stuff—stuff like spending the entire month of August on vacation. (I don’t know about you, but that sounds pretty nice.) Note, too, that this routine produces a book a year. (As someone who writes much more slowly, this sounds pretty nice to me as well.) And Child has been doing things this way since the late 1990s. (For more on Child’s process, see Andy Martin’s Reacher Said Nothing: Lee Child and the Making of Make Me.)

Fall is a time to write for me as well, but it also means welcoming—rather than fighting against—the shorter days, the football games, the decorative gourds. Productivity writer Nicholas Bate’s seven fall basics are more sleep, more reading, more hiking, more reflection, more soup, more movies, and more night sky. I like those too. The winter will bring with it new things, new adjustments. Hygge not hay rides. Ditto the spring. Come summer, I’ll feel less stress about stopping work early to go to a barbecue or movie because I know, come autumn, I’ll be hunkering down. More and more, I try to live in harmony with the seasons, not the clock. The result has been I’m able to prioritize better.

And yes, fall for me also means some of the stereotypical stuff: apple picking, leafy walks, we’re even trying to go to a corn maze this year.

In sum, as the Earth wobbles around the Sun, don’t be afraid to switch things up. I can’t promise an uptick in productivity, but when you think of things in terms of seasons instead of a single day, the entire year becomes your canvas."
mattthomas  seasons  routine  2017  tempo  change  writing  work  productivity  rhythms  lewismumford  timferris  clocks  time  fall  autumn  clocktime  nature  calendars  leechild  nicholasbates 
18 days ago
Uses This / Jenny Odell
"I'm Jenny Odell, and I used to call myself a digital artist, but I think I might actually be a conceptual artist. I'm based in Oakland and I teach art at Stanford."



"At Facebook, I've been using a risograph machine, sort of like a cross between a photocopying and screen printing, since you can only do one color at a time. Someone told me the other day that it's so named because "Riso" means "ideal" in Japanese, but that seems hard to believe after wrangling with the printer's mysterious needs and requests. Lastly, I want to give a shout out to my very satisfying Alvin Draf-Tec 0.5mm mechanical pencil, which I use with a regular black spiral bound notebook."



"My friend and fellow artist Liat Berdugo recently observed that screens "ask the body to be fixed in space"; my teaching mentor Camille Utterback has also noted that digital interfaces aren't very generous or forgiving to the human body. Basically, my dream setup exists in the far (or maybe not so far?) future, where I don't have to sit crouched in a vise-like position, poking and clicking at things all day. Is there a way to make digital art by running around outside and doing cartwheels? I really hope so."
jennyodell  risograph  tools  2017  usesthis  art  artists  thesetup 
18 days ago
Uses This / Dorian Taylor
"I do a lot of work on ordinary photocopier paper with a BIC mechanical pencil. If I have to travel, I use a Moleskine. I have a thing I made called a "cell calendar" which is just a piece of Bristol board that represents a week's worth of cells -- four-hour contiguous units of time in which the real thinking (and subsequent entropy-schlepping) gets done. When you subtract the irreducible maintenance time of sleep, food, hygiene and chores, I find you can max out on about three of these in a day. Emphasis on max out. When you're flying solo, the thing you consider to be your "actual job" only takes up a sliver of your waking life. With everything else going on, I'm lucky to get one of these in a day, and I might do a three-cell day only a handful of times a year."



"About the only object containing a CPU I've bought new in the last eight years is the second-crappiest possible tablet I could buy, and that was only because I wanted a multi-touch control surface for a tool I was working on."



"What I mean is this: We human beings reason over conceptual entities, and the relations that bind them. When these structures get too big to hold in our heads all at once, we outsource them to a representational medium, such as paper. Then we can take our time to comprehend them. However, a two-dimensional plane such as a piece of paper is still extremely limited in its capacity for coherently representing a complex conceptual structure, unless you resort to more and more esoteric mathematical representations. Even then, you're still screwed if you have a lot of data."



"I understand that we live in an increasingly interdependent world. I'm okay with interdependence. What I'm not okay with is one-way dependence, on particular people, business entities, robots, whatever. I'm not espousing some form of digital survivalism, I just want to be able to pick who I deal with, and if it doesn't work out, I want to be able to pick somebody else - all the way up and down the stack. Proximately what that means is that I can get my data out, and if I can't find a replacement for some particular operation, I can make one. Ultimately what it means, then, is that I understand my "dream system" as well as I need to in order to be sovereign over it.

App/platform vendors don't want sovereigns, of course. Their entire business models are designed around creating dependents, and then it's wall-to-wall ads and behavioural data sold out the back alley, all day long. I don't view that as a conspiracy though, it's more like "econophysics". There just hasn't been a strong enough alternative yet."
doriantaylor  time  timemanagement  attention  2017  usesthis  tools  interdependence  technology  thesetup 
18 days ago
Introducing The National Algorithm – Sjef van Gaalen – Medium
[also tagging this for the slides themselves, especially the diptychs ]

"This is a write-up of the talk I’ve been giving while working on my current research project “The National Algorithm”, an investigation of the tensions and relationships embedded in modern camouflage patterns.

The talk consists of a heavily condensed history of modern military camouflage and what it has come to symbolise, then goes into the specifics of the project itself."

[See also:
http://thenationalalgorithm.com/

"Introducing the Netherlands Experimental Pattern, orange variant (NEP-Oranje). Created by reverse-engineering the fractal camouflage design methodology developed by TNO Defence for the Netherlands Armed Forces, NEP-Oranje is at the cutting edge of camouflage pattern design. Wear it with pride or wear it to hide, whenever a national frenzy reaches fever pitch you'll be covered."]
sjefvangaalen  2017  camouflage  slides  presentations  visuals  diptychs 
18 days ago
EyeMyth
"Exploring present and future cases of immersive storytelling and new media, EyeMyth brings together pioneering artists, performers and experts at the forefront of these fields. 

EyeMyth’s 2017 edition, Future As Fiction, traversed multiple locations in Mumbai to create, discover and engage with new elements in the digital space. The festival featured an array of exhibitions, workshops and performances that explored various forms of expression through new media."

[via: "Cool to see our comrades in Mumbai doing strange and interesting things in the futures/fiction/festival space: https://eyemyth.unboxfestival.com/ "
https://twitter.com/justinpickard/status/914105328266022912 ]
mumbai  designfiction  speculativefiction  future  futurism  storytelling  newmedia  technology  vr  ar  augmentedreality 
18 days ago
don't look | sara hendren
"While reading to my three children at night, my youngest, age 7, will often be lolling in bed while I narrate. Or maybe he’ll be fiddling with Legos or other blocks as he listens. But lately, when the action of the story gets intense, or a scene grows emotional, or somehow the suspense elongates, my son’s whole body will wind down till he’s perfectly still. He will train his eyes on my face, watching the words come out as he listens. He’s the youngest, so it’s likely that his brain is having to assimilate at least one new vocabulary word per paragraph by inference, all while he’s being carried along by what happens, and then what happens next.

This perfect quietude usually only lasts a dozen seconds or so at a time, after which he’ll go back to kneading his pillow or looking at the stickers on his bed frame while the story continues. But each time this happens, I’m aware of it. I can see him in my peripheral vision. And for many reasons, at least right now, I don’t meet his eyes. I keep reading.

Sometimes I’m so tempted! I have an instinct to share his attention. To break the spell of the narrative to say: See here, here we are, watching the same characters move their way through time. That would be the completion of one kind of circuit: you and I, caught up in this same tale together.

But I hold back. I don’t want to intrude on his experience of just the story itself, being delivered to him aurally and mostly without my mediation as to what things mean, what context we’re missing. He is having his own encounter, and that’s another kind of circuitry altogether. It’s one to which I’m sometimes best as a witness. Because this is also how a story does its work: sending a charge to its boy and back again, blooming both partial and replete in his singular comprehension.

Part of parenting is surely this—acting as nothing more and nothing less than a hedge around experiences we may watch but perhaps refrain from sharing. All I can think now is: Keep reading. Don’t look."
sarahendren  2017  restraint  parenting  observation  assessment  readalouds  intrusion  cv  canon  comprehension  constructivism  stories  literature  witness  sharing  narrative  quietude  stillness  concentration  attention 
20 days ago
Poetic Computation: Reader
"Greetings. Welcome to the first class of Poetics and Politics of Computation at the School for Poetic Computation(SFPC). I’d like to begin the class by asking “What is poetic computation?” First, there is the poetics of code, which refers to code as a form of poetry. There is something poetic about code itself, the way that syntax works, the way that repetitions work, and the way that instruction becomes execution through abstraction. There is also what I call the poetic effect of code, which is an aesthetic experience realized through code. In other words, when the mechanics of words are in the right place, the language transcends its constraints and rules, and in turn, creates this poetic effect whereby thought is transformed into experience.

Together, the poetics of code and the poetic effect of code form ‘poetic computation.’ The terms code and computation are often used interchangeably, but I should note that code is only one aspect of computation. Code is a series of instruction for computation that requires logical systems and hardware to make the instructions computable. In that sense, computation is a higher level concept than code. For our purposes, however, we can use poetics of code and poetics of computation interchangeably throughout these discussions.

To a non-coder, non-artist friend, or to those just beginning to learn to program, I often say code may look like poetry in an alien language. And to those more experienced with code, writing code sometimes feels like writing poetry because it doesn’t always ‘work.’ I mean two things by ‘work’: first, does it work as an art form? Is it good poetry? On the other hand, I mean ‘work’ in a more utilitarian sense. Does it have practical application?

At SFPC, we like to think that poetic computation is when language meets mathematics, and logic meets electricity. Sometimes, poetic computation is literally writing poems with code. Some of our teachers and students write poetry with algorithms to explore what the language can do. When we started the school, a lot of people asked if the school is for generative poetry or electronic literature. We clarified that while we are definitely interested in the intersection of language and computation, we want to explore a broader definition of the ‘poetic.’ We want to investigate the art of computation as well as the expressive qualities of code, including its aesthetic, visual, aural and material aspects.

While this artistic potential lies at the core of the school’s excitement about code and computation, I’m interested in how this turn towards art may help us explore political possibilities. In this class, I consider computation to be a lens for examining reality and thinking about emergent issues in the world. In other words, computation can be a vehicle for imagining new ways of being in the world. Let’s first step back to look at material precedents of modern computation and computers."
taeyoonchoi  coding  processing  sfpc  poetry  books  toread  ebooks 
21 days ago
Robert Macfarlane on Twitter: "The contrast-term to "Kulturfolger" is "Kulturmeider", culture-avoiders, those species that cannot survive in humanly made habitats. https://t.co/MXlpmglEEn"
"The contrast-term to "Kulturfolger" is "Kulturmeider", culture-avoiders, those species that cannot survive in humanly made habitats."

[See also: "Word of the day: "Kulturfolger" - a species that adapts well to living among humans & their habitats (lit. 'culture-follower', German)."
https://twitter.com/RobGMacfarlane/status/912557474242334720 ]
words  german  culture  multispecies  entanglement  humans  nature  wildlife  anthropocene 
22 days ago
Shannon Sharpe on NFL Protest: ‘I’m Disappointed, and I’m Unimpressed’ 
"Shannon Sharpe, the Hall of Fame former NFL tight end-turned-the most woke sports analyst to ever to do it, is back at it again dropping straight gems. Sharpe wasn’t feeling the show of NFL locked-arm unity after President Donald Trump came out and declared that any player who protested during the national anthem should be fired.

“I’m disappointed. And I’m unimpressed,” Sharpe said during Fox Sports’ Undisputed. “Because this is the tipping point. Of the 7,537 things that President Trump has said in the last 50 years, him calling an NFL player an SOB is what brought the NFL, the owners and its players, together. And while some might be moved by the conscience of these NFL owners, it wasn’t their conscience that moved them. It was the cash.”

Sharpe then went on to explain that if the NFL owners were really standing up against injustice, they could’ve done so long ago, like when Trump declared that Mexico was sending nothing but murderers and rapists to the United States. Or they could’ve stood up when he blasted the Gold Star Muslim family who lost their son in war. Or when he called Rosie O’Donnell a pig, or was caught on tape talking casually about how he sexually assaults random women.

“That did not shock the very conscience of seven NFL owners. Skip, allow me a second to name those guys: one, Daniel Snyder; Jerry Jones; Bob, Mr. Bob Kraft; McNair, Houston Texans; Woody Johnson; Shahid Khan,” Sharpe said. “They gave a million dollars for the inauguration of President Trump. And now they seem to be shocked. Every author that’s written a book about President Trump, and they started writing books about him in the 1980s, they say he is exactly today as he was then. So that is all I want to say about him, Skip. Now what has happened?”

You can watch the whole clip below, but I implore you not to watch this at work so you won’t be liable for telling a co-worker that he or she can get these hands."

[via: https://kottke.org/17/09/taking-a-knee ]
shannonsharpe  2017  nfl  race  racism  donaldtrump  flag  nationalanthem  military  sports  politics  us  colinkaepernick  dalehansen  protest  freedomofspeech  constitution  inequality  socialjustice  policebrutality 
22 days ago
Hansen Unplugged: Anthem protests not about disrespecting the flag | WFAA.com
"Former 49ers quarterback Colin Kaepernick takes a knee during the national anthem in San Francisco last year. We noticed, but very few players joined him.

He can’t get a job in the NFL now, and very few have said much about that, either.

But the president says he wants that peaceful protest to stop… He says those players should be fired if they take a knee during the anthem, and calls those players a name I never thought I’d live long enough to hear a president say.

Now, everybody cares.

Donald Trump has said he supports a peaceful protest because it's an American's right… But not this protest, and there's the problem: The opinion that any protest you don't agree with is a protest that should be stopped.

Martin Luther King should have marched across a different bridge. Young, black Americans should have gone to a different college and found a different lunch counter. And college kids in the 60's had no right to protest an immoral war.

I served in the military during the Vietnam War... and my foot hurt, too. But I served anyway.

My best friend in high school was killed in Vietnam. Carroll Meir will be 18 years old forever. And he did not die so that you can decide who is a patriot and who loves America more.

The young, black athletes are not disrespecting America or the military by taking a knee during the anthem. They are respecting the best thing about America. It's a dog whistle to the racists among us to say otherwise.

They, and all of us, should protest how black Americans are treated in this country. And if you don't think white privilege is a fact, you don't understand America.

The comedian Chris Rock said it best: There's not a white man in America who would trade places with him, and he's rich.

It has not gone unnoticed that President Trump has spoken out against the Mexicans who want to come to America for a better life against the Muslims and now against the black athlete. Ht he says nothing for days ... about the white men who marched under a Nazi flag in Charlottesville except to remind us there were good people there. And when he finally tried to say the right thing not 1 of them was called an s-o-b, nor did he say anyone should be fired.

Maybe we all need to read our Constitution again. There has never been a better use of pen to paper. Our forefathers made freedom of speech the First Amendment. They listed 10, and not one of them says you have to stand during the national anthem.

And I think those men respected the country they fought for and founded -- a great deal more than the self-proclaimed patriots who are simply hypocrites -- because they want to deny the basic freedom of this great country…

A country they supposedly value, and cherish so much."

[via: https://kottke.org/17/09/taking-a-knee ]
flag  us  colinkaepernick  2017  nfl  donaldtrump  race  racism  dalehansen  military  protest  freedomofspeech  politics  constitution  inequality  socialjustice  policebrutality  nationalanthem 
22 days ago
Biolojical on Twitter: "An emoji represents how many species?
"An emoji represents how many species?
1 💃🐼🐩😺🦁🐯🐎🐄🐖🐪🐨🥑🍍🌽
2-10 🦍🐘🦏🌰🎃
11-100 🦌🐬🦊🐰🐹🐧🐊🥕🌷🍓🍎🍐🍒🍇🌻🍅🥝
101-1K 🐒🐭🐀🦉🕊️🐢🐡🦈🐙🦑🍁🌲
1K-10K 🦇🐦🦎🐍🐸🐞🦂🦐🦀🌵🌴
>10K 🐟🐌🐜🐝🦋🕷️🍄🌳🌱"
emoji  nature  internet  web  online  animals  plants  multispecies 
22 days ago
Anna Lowenhaupt Tsing - A Feminist Approach to the Anthropocene: Earth Stalked by Man - YouTube
"To take seriously the concept of the Anthropocene—the idea that we have entered a new epoch defined by humans’ impact on Earth’s ecosystems—requires engagement with global history. Using feminist anthropology, this lecture explores the awkward relations between what one might call “machines of replication”—those simplified ecologies, such as plantations, in which life worlds are remade as future assets—and the vernacular histories in which such machines erupt in all their particularity and go feral in counter-intentional forms. This lecture does not begin with the unified continuity of Man (versus indigenous ontologies; as scientific protocol; etc.), but rather explores contingent eruptions and the patchy, fractured Anthropocene they foster.

Anna L. Tsing is a Professor of Anthropology at UC Santa Cruz, and the acclaimed author of several books including Friction: An Ethnography of Global Connection and In the Realm of the Diamond Queen.

This Helen Pond McIntyre '48 Lecture was recorded on November 10, 2015 at Barnard College."
annalowenhaupttsing  2015  anthropocene  multispecies  morethanhuman  ecology  disentanglement  feminism  naturalhistory  anthropology  ecologies  plantations  capitalism  humans  entanglement  interdependence  animals  plants  trees  birds  farming  fordlandia  rubber  environment  hope  science  humanism 
23 days ago
Arts of Living on a Damaged Planet — University of Minnesota Press
[via: https://www.instagram.com/p/BZeIyNcHxL6/ ]

"Arts of Living on a Damaged Planet: Ghosts and Monsters of the Anthropocene

2017 • Anna Lowenhaupt Tsing, Heather Anne Swanson, Elaine Gan, and Nils Bubandt, Editors

Can humans and other species continue to inhabit the earth together?

As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene.
Arts of Living on a Damaged Planet exposes us to the active remnants of gigantic past human errors—the ghosts—that affect the daily lives of millions of people and their co-occurring other-than-human life forms. Challenging us to look at life in new and excitingly different ways, each part of this two-sided volume is informative, fascinating, and a source of stimulation to new thoughts and activisms. I have no doubt I will return to it many times.

—Michael G. Hadfield, University of Hawai‘i at Mānoa

Living on a damaged planet challenges who we are and where we live. This timely anthology calls on twenty eminent humanists and scientists to revitalize curiosity, observation, and transdisciplinary conversation about life on earth.

As human-induced environmental change threatens multispecies livability, Arts of Living on a Damaged Planet puts forward a bold proposal: entangled histories, situated narratives, and thick descriptions offer urgent “arts of living.” Included are essays by scholars in anthropology, ecology, science studies, art, literature, and bioinformatics who posit critical and creative tools for collaborative survival in a more-than-human Anthropocene. The essays are organized around two key figures that also serve as the publication’s two openings: Ghosts, or landscapes haunted by the violences of modernity; and Monsters, or interspecies and intraspecies sociality. Ghosts and Monsters are tentacular, windy, and arboreal arts that invite readers to encounter ants, lichen, rocks, electrons, flying foxes, salmon, chestnut trees, mud volcanoes, border zones, graves, radioactive waste—in short, the wonders and terrors of an unintended epoch.

Contributors: Karen Barad, U of California, Santa Cruz; Kate Brown, U of Maryland, Baltimore; Carla Freccero, U of California, Santa Cruz; Peter Funch, Aarhus U; Scott F. Gilbert, Swarthmore College; Deborah M. Gordon, Stanford U; Donna J. Haraway, U of California, Santa Cruz; Andreas Hejnol, U of Bergen, Norway; Ursula K. Le Guin; Marianne Elisabeth Lien, U of Oslo; Andrew Mathews, U of California, Santa Cruz; Margaret McFall-Ngai, U of Hawaii, Manoa; Ingrid M. Parker, U of California, Santa Cruz; Mary Louise Pratt, NYU; Anne Pringle, U of Wisconsin, Madison; Deborah Bird Rose, U of New South Wales, Sydney; Dorion Sagan; Lesley Stern, U of California, San Diego; Jens-Christian Svenning, Aarhus U.
books  toread  anthropocene  annalowenhaupttsing  multispecies  heatheranneswanson  elainegan  nilsbubandt  anthropology  ecology  science  art  literature  bioinformatics  2017  morethanhuman  humans  transdisciplinary  interspecies  karenbarad  katebrown  carlafreccero  peterfunch  scottgilbert  deborahgordon  donnaharaway  andreasheinol  ursulaleguin  marianneelisabethlien  andrewmathews  margaretmcfall-ngai  ingridparker  marylouisepratt  annepringle  deborahbirdrose  dorionsagan  lesleystern  jens-christiansvenning  earth  intraspecies 
23 days ago
Profile: AURA: Aarhus University Research on the Anthropocene
"We have entered the Anthropocene - a new geologic epoch, defined by unprecedented human disturbance of the earth’s ecosystems.

The Anthropocene is a confusing age. At a time when humans have come to be a 'force of nature' that is instrumental in causing rapid, often unintended, changes to the earth they inhabit, nature in its classical sense is over. Nature itself has become a cultural side-effect, a side-effect full of unintended consequences.

At the heart of our confusion is the problem of unintentional design on anthropogenic, i.e. human disturbed, landscapes. Human projects do not always result in the landscapes of which we dream. Climate change is one example of unintentional design; new zoonotic diseases are another. As these examples suggest, we tend to imagine unintentional design as a danger to human survival. But what if anthropogenic landscapes were sometimes also sites of new designs for living—unplanned but still life-enhancing?

New approaches that cut across the conventional divide between the human sciences and the life sciences are required to consider these Anthropocene dilemmas.  "Living in the Anthropocene: Discovering the potential of unintentional design on anthropogenic landscapes" is a research project at Aarhus University that seeks to study these dilemmas.

Headed by Niels Bohr professor and anthropologist Anna Tsing, the project aims to open up a novel and truly trans-disciplinary field of research into the Anthropocene.  Applying insights and methods from anthropology, biology and philosophy, the  project will focus on the 'co-species landscapes' that humans and other species come to co-inhabit in the Anthropocene.  The projects suggests that a descriptive and trans-disciplinary approach is needed to understand the kinds of lives that are made and the futures that are possible in the ruined, re-wilded, and unintended landscapes of the Anthropocene."
annalowenhaupttsing  anthropocene  capitalism  climatechange  nielsbohr  aarhusuniversity  multispecies  ecosystems  landscapes  anthropology  biology  philosophy  morethanhuman 
23 days ago
Why cards are the future of the web - Inside Intercom
"Cards are fast becoming the best design pattern for mobile devices."



"In addition to their reputable past as an information medium, the most important thing about cards is that they are almost infinitely manipulatable. See the simple example above from Samuel Couto Think about cards in the physical world. They can be turned over to reveal more, folded for a summary and expanded for more details, stacked to save space, sorted, grouped, and spread out to survey more than one.

When designing for screens, we can take advantage of all these things. In addition, we can take advantage of animation and movement. We can hint at what is on the reverse, or that the card can be folded out. We can embed multimedia content, photos, videos, music. There are so many new things to invent here.

Cards are perfect for mobile devices and varying screen sizes. Remember, mobile devices are the heart and soul of the future of your business, no matter who you are and what you do. On mobile devices, cards can be stacked vertically, like an activity stream on a phone. They can be stacked horizontally, adding a column as a tablet is turned 90 degrees. They can be a fixed or variable height.

Cards are the new creative canvas

It’s already clear that product and interaction designers will heavily use cards. I think the same is true for marketers and creatives in advertising. As social media continues to rise, and continues to fragment into many services, taking up more and more of our time, marketing dollars will inevitably follow. The consistent thread through these services, the predominant canvas for creativity, will be card based. Content consumption on Facebook, Twitter, Pinterest, Instagram, Line, you name it, is all built on the card design metaphor.

I think there is no getting away from it. Cards are the next big thing in design and the creative arts. To me that’s incredibly exciting."
cards  web  webdesign  webdev  userinterface  ux  userexperience  ui  design  mobile  pauladams 
24 days ago
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