robertogreco + adventure   41

Where Not to Travel in 2019, or Ever | The Walrus
"When adventurers crave “untouched” places and “authentic” peoples, it’s the locals who ultimately pay"

"For what is still missing from this scenario is consent. In its place is a sense of entitlement as extreme as it is commonplace."

"We want what we want when we go abroad, which often is the untouched, the authentic—even as our arrival, by definition, undermines those very qualities in a place or of a culture and contributes to the slow, involuntary conversion of one way of life into another."

Respectful pilgrimages rarely make the history books or headlines, which is all the more reason to pay them attention. Consider the 1971 “antiexpedition” of Norwegian eco-philosopher Arne Næss and his friends to Tseringma, also known as Gaurishankar, in Nepal, a then unsummitted 7,181-metre peak sacred to those living in its shadow. In a pointed critique of mountaineering’s culture of conquering, Næss’s team travelled light, consulted with a local lama as to how high on Tseringma they could respectfully go, and invited villagers along not as porters but as colleagues. A few years later, other foreigners would claim the first ascent of Tseringma, but forget them. Remember Næss and team, who climbed to a certain height, took a look at the summit from a distance, and turned back."
travel  observation  consent  authenticity  2019  kateharris  colonization  colonialism  adventure  untouched  imperialism  india  johnallenchau  pilgrimage  nepal  arnenæss  canon 
march 2019 by robertogreco
UNBORED: The Essential Field Guide to Serious Fun
"The UNBORED team — coauthors Josh Glenn and Elizabeth Foy Larsen, and designer Tony Leone — are friends who got tired of lamenting the fact that we couldn’t find any activity books for families who enjoy getting unbored both indoors and outdoors, online and offline. So we decided to make one.

Our inspiration? Do-it-yourself guides from the 1970s like The Whole Earth Catalog, maker/builder websites like Instructables and Make, parenting blogs, old scouting manuals, and even Neal Stephenson's sci-fi novel The Diamond Age.

In creating our first book we drew on our own memories of childhood — the made-up games we played, the rhymes we used to figure out who was “It,” the handicrafts we enjoyed, you name it. We also drew on our experiences as parents of kids growing up in the 21st century… with the Internet and smartphones and apps. And we roped in a couple dozen scientist, activist, and maker friends to help out, too. Perhaps most importantly, we recruited three very talented artists — Mister Reusch, Heather Kasunick, and Chris Piascik — to contribute hundreds of illustrations."

Paperback, 176 pages

In the fall of 2014, Bloomsbury published the paperback UNBORED Games. In its 176 (full-color, richly illustrated) pages, you’ll find the rules to dozens of indoor, outdoor, online and offline games, including: back of the classroom games, bike rodeo games, jump rope games, alternate reality games, clapping games, apps and videogames, secret-rules games, drawing games, rock-paper-scissors games, card and dice games, backyard games, guerrilla kindness games, stress-relieving games, and geo-games.

Expert essays by gamers Chris Dahlen, Catherine Newman, Stephen Duncombe, and Richela Fabian Morgan; Best Ever lists; DIY game-building projects; Secret History Comics; Q&As with Apps for Kids podcasters Mark and Jane Frauenfelder, Anomia inventor Andrew Innes, and others; Train Your Grownup features; classic literature excerpts; and brain-teasing Mindgames."

"Our second book received glowing reviews, too. (For example, the Minneapolis Star-Tribune described it as “chock-full of smart, totally not-lame ideas to amuse and give the brain a workout.”) So our team set to work on a third book…"

"UNBORED Adventure
Paperback, 176 pages

In the fall of 2015, Bloomsbury published the paperback UNBORED Adventure. In its 176 (full-color, richly illustrated) pages, you’ll find adventure apps, adventure gear, adventure skills (from building a fire to open-mindedness), adventure-building projects (e.g., bean shooter, box kite, ghillie poncho, paracord bracelet, upcycled raft), indoor adventures (e.g., sewing your own ditty bag, survival origami), instant adventures, and outdoor adventures (from the pervasive game Assassin to fire-pit recipes to shootin’ craps).

Expert essays by adventurers Chris Spurgeon, BikeSnobNYC, Catherine Newman, and Liz Lee Heinecke; Best Ever lists; Secret History Comics; Q&As with Joshua Foer and Dylan Thuras of Atlas Obscura, Playborhood author Mike Lanza, and urban biking activist Elly Blue, among others; Train Your Grownup features; and classic lit excerpts."

"Our third book was also well-received. We think it’s our best book yet! But a whole new phase of the UNBORED project was just beginning…"

Unbored Disguises…
Unbored Treasure Hunt…
UNBORED Carnival kit…
UNBORED Time Capsule…"
books  children  classideas  parenting  fun  creativity  elizabethfoylarsen  joshglenn  nealstephenson  wholeearthcatalog  play  games  gaming  adventure 
february 2019 by robertogreco
"A game about farming, creatures, and adventure"


Ooblets is a currently-in-development creature collection and farming game. It’s sort of like Harvest Moon meets Pokémon meets Animal Crossing meets the weird awkward people we are.

More of your questions might be answered on the FAQ page.


As Essie, the noseless protagonist, you’re making a fresh start in a new town. You’ve bought a little plot of land with the hopes of cultivating a farm and becoming a town-renowned ooblet trainer. What else do you need?


Plant, water, and harvest crops, manage and expand your farm, collect all sorts of junk, make friends, and also make littler friends (ooblets).

Use the crops you grow to befriend, upgrade, and heal ooblets. Buy a little shop and sell your excess crops and junk to the townspeople.

Explore regions like the Mamoonia desert, the spooky Nullwhere, bustling Hubton, and more! Discover loads of ooblets and battle other trainers all over the place.


• Live a simple life working the land (and battling magical creatures)
• You get a little house you can decorate and expand
• Play at your own pace. Leave the stresses of city living behind you
• Take part in a bustling little town full of characters
• Open world exploring
• Visit a variety of regions (one will be under water I think!)
• Automate production with things like sprinklers
• Run a shop!
• Upgrade your dudes because I guess they’re not good enough for you
• Maybe you will get to name your dudes too?
• Join a Ooblet club. Feel wanted and appreciated. Distrust other clubs’ members.
• Befriend rare creatures. Look, that one’s wearing a little hat! Catch it!"

[See also: ]
games  gaming  videogames  rebeccacordingley  adventure  farming  animalcrossing  harvestmoon  pokemon  pokémon  agriculture 
december 2016 by robertogreco
Welcome to Horizon Line, A Podcast About Adventure | Atlas Obscura
"In the first episode of Horizon Line, we tell the harrowing story of a man who tried to sail across the Arctic in a hot air balloon."
podcasts  adventure  atlasobscura 
november 2016 by robertogreco On Adventure and Play
"Recompiling a list of a few resources on Adventure Playgrounds as it has recently come up in conversation."
play  playgrounds  adventureplaygrounds  adventure  children  parenting  society  thomassteele-maley 
july 2016 by robertogreco
"We know a place where mages run raves,
harpies haunt the suburbs,
and a road trip can save the world.

Follow us.

Guildlings is a fantasy adventure
in a world of wizards and wifi.
Coming to mobile in 2017."
videogames  mobile  games  fantasy  edg  srg  gaming  ios  adventure  wifi 
february 2016 by robertogreco
Playworkers, Ph.Ds, and the Growing Adventure Playground Movement | Atlas Obscura
"More and more people are considering a new degree: Ph.D in Playwork.

Why? Because children’s play has lost its way. Across the world, according to a pair of academics, adults have become stifling and engineering, domineering and overcalculating in their oversight of how kids bide their time. Urbanization has certainly played a role, limiting “playgrounds” to rigid metal structures lacking the magical potential of backyards, fields and forests. But parenting trends have also been moving in an increasingly hands-on direction, influenced in part by practical concerns such as safety and bullying, but also by a hungry desire for measurable results and a general distrust of children’s abilities to teach themselves—to control the content and direction of their own play, whether it involves crayons or saws.

Morgan Leichter-Saxby and Suzanna Law are working on PhDs in Playwork at Leeds Beckett University in the UK, which recently appointed the world’s first Professor of Playwork. Their PhD adviser, Dr. Fraser Brown, describes playwork as “non-judgmental, non-directive and largely reflective.” The “three Frees” of play require that it be freely chosen, free of charge, and that children must be free to come and go as they please.

Adventure play can take a variety of forms, ranging from natural spaces with treehouses and twine forts reminiscent of Huck Finn or Pippi Longstocking, to dump-like playgrounds filled with old tires and plastic junk, to temporary arts and crafts gatherings. One of the most critical components of adventure play are playworkers, a group of trained staff who are able to trust the children and watch their progress and learning, adults who guide, monitor and support without intervening.

Leichter-Saxby and Law are currently on a six-country world tour promoting Pop-Up Adventure Play, an organization they founded in 2010. Registered as a charity, Pop-Up Adventure Play functions under the belief that “children have the right to play as they please, and that a place that supports children’s play benefits everyone.” It doesn’t seem like a revolutionary concept, but some are realizing that in some ways, it is. The values behind adventure play have caused a growing number of adults to recognize the ways in which they are constricting children’s creativity.

When Leichter-Saxby came across her first adventure playground, she says “the vibe was like nowhere else on earth.” She and Law became play rangers, a type of playwork which involves bringing play into play-deprived communities. The more work they did, the more they felt that this was something that America really needed.

With Pop-Up Adventure Play, they wanted to create an accessible model of an adventure playground and provide the basic ideas to get people started. Anyone can access their free Pop-Up Play Shop Toolkit and Resource Pack, and ask for advice on how to get started. There have now been pop-ups in around 17 different countries, temporary projects intended to create momentum for long-term objectives.

Across different countries and neighborhoods, Leichter-Saxby and Law have observed that while governments have different initiatives, the main issues stay the same. “In Bogota, they're saying the militia moved the drug lords out, and nobody knows their neighbors,” says Leichter-Saxby. "In Park Slope, it's concerns about childcare, educational agenda, and testing that are overwhelming parents; kids aren't playing outside, and nobody knows their neighbors. All around the world, there are shared problems of standardized testing, collapsed social networks, a mistrust of public space... From people in wildly different circumstances, you have the same stories about barriers to play.”

The two women have helped to create pop-up adventure play in museums, parks, parking lots, and empty shops. “We meet people where they are, rather than asking them to come to us,” says Law. Adventure playgrounds evolve organically to meet a community’s immediate needs, meaning that no two playgrounds will be the same. It’s a matter of incremental risk and cultivating awareness. “I think a lot of adults today think that they’re afraid of fire and sharp tools with children—but they’re really afraid of letting children do what they please,” says Law.

Erin Davis is the director of a short documentary about The Land, an adventure playground in Wrexham, Wales known for its edginess and unconventional levels of autonomy.

At The Land, children can climb trees and make fires, work with saws and hammers, and very much build their own adventure. The reason this can work is that The Land is a very insular community, and the riskier elements are possible due to the playworkers who eliminate real safety hazards like stray nails, as well as their intimacy and familiarity with the same group of kids. “Something like The Land would not be safe in a place like New York City, where people are playing once, if they’re visiting, or come with a school group for an afternoon,” explains Davis.

Compared to hundreds across the UK and Europe, there are only five or six adventure playgrounds in the U.S. Perhaps the most high-profile for its incorporation of both moving parts and playworkers is Manhattan’s Imagination Playground, established in 2010, which rejects the fixed equipment model and instead offers oversized foam blocks that kids can move around.

“What captured my attention was the idea of playwork, and what it takes for an adult to support play,” Davis says of her time working on the film. “I was definitely reminded how competent children are; they get no credit for being smart creatures—clever, wise, and creative when given the opportunity.”
“It is how children explore and experiment, testing themselves, taking risks on their own terms and discovering how they function—what they like and don’t like—as much as discovering how their world works and how it responds to them,” she says.

England and Scotland have both launched campaigns for children’s play, but in the U.S., playwork has struggled to gain footing. “Ultimately, adult agendas have gotten in the way of adventure playwork blossoming in the U.S.,” says Law. She says Americans seem to prefer the “carefully curated baskets of joy” you get at preschools to the dirtiness and chaos of an adventure playground.

Jeremiah Dockray and his wife Erin Larsen are spearheading Santa Clarita Valley Adventure Play in their community of Val Verde, 30 minutes north of Los Angeles. Dockray came across adventure play in an article from a ways back where adventure playgrounds were described as a parable for anarchy. He thought the playgrounds were extinct, but he found the concept amazing and wanted something similar for their five year-old son. The couple discovered an abandoned park in their neighborhood, saw it was for sale, fell in love with it, and bought it. They signed up for an online class offered by Law and Leichter-Saxby and began started to adopt the pop-up model for outreach to their community. For nearly two years, the couple has been doing pop-up playgrounds at least once a month, as well as working to make some inroads with local parks and recreation officials and public and charter schools, trying to get some adventure play concepts into schools and recess.

Right now, their permanent spot is being very slowly developed. “We’re trying not to head into it so fast that we make something that nobody actually asked for,” says Dockray. “What we’re trying to do is basically get to know as many of the families in the area.” They want to offer a physical and mental space that kids aren’t usually allowed in more regimented environments. “It’s a local idea, to help each other, look out for each other, day in and day out, for kids to come in and work on projects for weeks and weeks, months and months,” says Dockray. “To change the playground as they change—that’s the romantic vision, anyway.”

The community response has been positive, but they’re still navigating partnerships with the official entities and have yet to handle the legal side of things. Dockray says that when you sit insurance companies down and let them see data, adventure playgrounds are often more safe than the “bubble-wrapped playgrounds that they kind of cut-and-paste across America, where kids have a kind of an illusion that they can’t hurt themselves,” he says. “In the adventure play situation, kids can be in such a higher state of play, so focused that they’re in fact very careful, and aware of own bodies and space.”

Playworkers are one of most important aspects of having an adventure playground that truly does what it should, says Dockray, which is one reason that funding is important. They want to create something where people can make a living doing their playwork and helping out the community at no cost to them. Dockray and Larsen are working on several grants and partnerships, though they’re encountering a lot of regulations. Dockray says it’s actually easier to have an adventure playground if you don’t call yourself a playground.

Thanks to the individual efforts of people like Dockray and the support of organizations like Pop-Up Play, playwork is gradually gaining more traction in the U.S. There is now an annual Play Symposium held in Ithaca, New York, though no American universities yet offer degrees in Playwork. Leichter-Saxby and Law are hoping they can jumpstart a “play revolution.”

But it all comes down to the question: Are we willing to relinquish control, and let children direct themselves? "
playgrounds  adventureplaygrounds  children  play  2015  safety  parenting  society  adventure  fear  creativity 
november 2015 by robertogreco
The Value Of Wild, Risky Play: Fire, Mud, Hammers And Nails : NPR Ed : NPR
"Something that's hard for us to accept is that safety, security, is a myth to a degree. There's no such thing as complete safety; it's impossible, unfortunately. But we are interested in being as safe as possible. So that is reflected very obviously in children's culture in America these days. Certainly fear culture is a barrier to adventure play in the U.S. But my sense is that people are growing bored of that. [They are] exhausted by worrying about everything all the time, constantly trying to preempt disaster and enjoying the permission to let go that comes from this adventure play movement."

"Children are an indicator species, in a way. And if kids are stressed out and confined and constrained, they're living in the world we created for them. So really this should really be an opportunity for us to look at ourselves and what we're doing in a larger cultural capacity.

[Q] It's still weird to me that we just don't have more of these in the U.S.

The biggest barrier now is staffing fees. The key ingredient to an adventure playground is a staff that is specifically using a playwork approach to support the kids. You never see a parent at a European adventure playground. But you see parents all over the America play sites.

Another serious barrier is the ugly factor. Junk playgrounds are junky and they don't look cute. They aren't tidy. So for that reason it's a tough sell — even to people who easily get on board with the self-directed and risky play ideas. Of course, that's where the fence comes in. The Land is surrounded by an 8-foot privacy fence that protects neighbors from an eyesore while enabling kids their own independent experiences — playful ones like we remember fondly from our own childhoods."

[Embedded video is here: ]
children  play  society  culture  fear  parenting  danger  risk  risktaking  playgrounds  adventure  securiy  wales  fire  erindavis  adventureplaygrounds 
april 2015 by robertogreco
Paris Review - The Art of Fiction No. 34, Jean Cocteau
"If the ideas come, one must hurry to set them down out of fear of forgetting them. They come once; once only. On the other hand, if I am obliged to do some little task—such as writing a preface or notice—the labor to give the appearance of easiness to the few lines is excruciating. I have no facility whatever. Yes, in one respect what you say is true. I had written a novel, then fallen silent. And the editors at the publishing house of Stock, seeing this, said, You have too great a fear of not writing a masterpiece. Write something, anything. Merely to begin. So I did—and wrote the first lines of Les Enfants Terribles. But that is only for beginnings—in fiction. I have never written unless deeply moved about something. The one exception is my play La Machine à Écrire. I had written the play Les Parents Terribles and it was very successful, and something was wanted to follow. La Machine à Écríre exists in several versions, which is very telling, and was an enormous amount of work. It is no good at all. Of course, it is one of the most popular of my works. If you make fifty designs and one or two please you least, these will nearly surely be the ones most liked. No doubt because they resemble something. People love to recognize, not venture. The former is so much more comfortable and self-flattering.

It seems to me nearly the whole of your work can be read as indirect spiritual autobiography. "
jeancocteau  resemblance  comfort  interviews  adventure  via:anne  1964  ideas  memory  forgetting  writing  howwewrite 
march 2015 by robertogreco
Oliver Sacks on Learning He Has Terminal Cancer -
"A MONTH ago, I felt that I was in good health, even robust health. At 81, I still swim a mile a day. But my luck has run out — a few weeks ago I learned that I have multiple metastases in the liver. Nine years ago it was discovered that I had a rare tumor of the eye, an ocular melanoma. Although the radiation and lasering to remove the tumor ultimately left me blind in that eye, only in very rare cases do such tumors metastasize. I am among the unlucky 2 percent.

I feel grateful that I have been granted nine years of good health and productivity since the original diagnosis, but now I am face to face with dying. The cancer occupies a third of my liver, and though its advance may be slowed, this particular sort of cancer cannot be halted.

It is up to me now to choose how to live out the months that remain to me. I have to live in the richest, deepest, most productive way I can. In this I am encouraged by the words of one of my favorite philosophers, David Hume, who, upon learning that he was mortally ill at age 65, wrote a short autobiography in a single day in April of 1776. He titled it “My Own Life.”

“I now reckon upon a speedy dissolution,” he wrote. “I have suffered very little pain from my disorder; and what is more strange, have, notwithstanding the great decline of my person, never suffered a moment’s abatement of my spirits. I possess the same ardour as ever in study, and the same gaiety in company.”

I have been lucky enough to live past 80, and the 15 years allotted to me beyond Hume’s three score and five have been equally rich in work and love. In that time, I have published five books and completed an autobiography (rather longer than Hume’s few pages) to be published this spring; I have several other books nearly finished.

Hume continued, “I am ... a man of mild dispositions, of command of temper, of an open, social, and cheerful humour, capable of attachment, but little susceptible of enmity, and of great moderation in all my passions.”

Here I depart from Hume. While I have enjoyed loving relationships and friendships and have no real enmities, I cannot say (nor would anyone who knows me say) that I am a man of mild dispositions. On the contrary, I am a man of vehement disposition, with violent enthusiasms, and extreme immoderation in all my passions.

And yet, one line from Hume’s essay strikes me as especially true: “It is difficult,” he wrote, “to be more detached from life than I am at present.”

Over the last few days, I have been able to see my life as from a great altitude, as a sort of landscape, and with a deepening sense of the connection of all its parts. This does not mean I am finished with life.

On the contrary, I feel intensely alive, and I want and hope in the time that remains to deepen my friendships, to say farewell to those I love, to write more, to travel if I have the strength, to achieve new levels of understanding and insight.

This will involve audacity, clarity and plain speaking; trying to straighten my accounts with the world. But there will be time, too, for some fun (and even some silliness, as well).

I feel a sudden clear focus and perspective. There is no time for anything inessential. I must focus on myself, my work and my friends. I shall no longer look at “NewsHour” every night. I shall no longer pay any attention to politics or arguments about global warming.

This is not indifference but detachment — I still care deeply about the Middle East, about global warming, about growing inequality, but these are no longer my business; they belong to the future. I rejoice when I meet gifted young people — even the one who biopsied and diagnosed my metastases. I feel the future is in good hands.

I have been increasingly conscious, for the last 10 years or so, of deaths among my contemporaries. My generation is on the way out, and each death I have felt as an abruption, a tearing away of part of myself. There will be no one like us when we are gone, but then there is no one like anyone else, ever. When people die, they cannot be replaced. They leave holes that cannot be filled, for it is the fate — the genetic and neural fate — of every human being to be a unique individual, to find his own path, to live his own life, to die his own death.

I cannot pretend I am without fear. But my predominant feeling is one of gratitude. I have loved and been loved; I have been given much and I have given something in return; I have read and traveled and thought and written. I have had an intercourse with the world, the special intercourse of writers and readers.

Above all, I have been a sentient being, a thinking animal, on this beautiful planet, and that in itself has been an enormous privilege and adventure."
cancer  death  life  neuroscience  living  oliversacks  2015  legacy  individuality  davidhume  health  dying  mortality  audacity  clarity  goodbyes  perspective  humanism  privilege  adventure  consciousness 
february 2015 by robertogreco
Sextant Works - Not Know Because Not Looked For
"Sextant Works (formerly Wanderlust Projects) is an experience design collaboration between N.D. Austin and Ida C. Benedetto.

We practice transgressive placemaking through adventure, intimacy, and exploration."
placemaking  psychogeography  exploration  adventure  idabenedetto  ndaustin  wanderlustprojects  art  experience  place  place-based  place-basededucation  place-basedlearning  place-basedpedagogy 
february 2015 by robertogreco
Campsick: Julian Bleecker Reports from Alec Soth’s Camp for Socially Awkward Storytellers — Magazine — Walker Art Center
"To give a measure of what a Camp for Socially Awkward Storytellers is, let me describe some of its awkward moments.

1. Unspecified expectations, except whatever happens, it will be shared at a public slideshow on the last day.

2. No packing list. Usually, when I went to summer camp as a young tot, there were checklists of bug spray, 12 changes of underwear, swim trunks, swim goggles, toiletries, sleeping bag, wash cloth, pajamas, sun hat, etc.

3. No agenda, except to show up on July 9 at the offices of Little Brown Mushroom around 9:30 or 10.

4. Suburban excursion in a stout RV. That just sorta happened. Spontaneously.

5. Itchy, scratchy mosquito bites in spite of semi-legal, high-test, under-the-counter mosquito repellent.

6. Late-night slideshows. (Think of it as a modern variant of the campfire story telling hour.)

7. A surprise birthday cake.

8. A dance.

9. Campsick. It’s like homesick, but for camp. Specifically, an aching in the belly, like you’ve finished a great summer at camp and must immediately make plans to stay in touch and meet again. As soon as possible. Like something happened you didn’t want to stop, but you had to because it was too expensive to change flights and stay another day or two.

That was the Little Brown Mushroom Camp for Socially Awkward Storytellers, a project that brought together 15 eager campers from all over the map. Camp, as Soth described it to me, “evokes campfires and canoes, but the definition is actually quite flexible. ‘Camp’ simply means a summertime gathering that lacks the formal and institutionalized aura of school.” For Soth, the hope was “to just create a context in which people can make art happen.”

But that context, as camp’s name suggests, is decidedly awkward. That’s fitting for a group like Little Brown Mushroom. There is not the pretension that one might expect from a studio attached to an artist’s name. It would’ve been clear to anyone who knew of LBM—either through its blog, their books, or Soth’s work—that camp would not be supplicating students learning from the great master. First of all, Soth is self-admittedly awkward in front of people, so he would not be holding forth in the style of the self-indulgent artist. We’d be working among each other, campers and counselors on equal footing. It was activity-time camp, nearly 14 hours every day. We’d be defining the activities. Exuberant, exhausting, difficult, strange, get-your-game-face-on kinds of activities."

"I have no idea what’s going on, or what I’m doing, but I’m doing it.

And now, back at our encampment there are four of us quietly sitting, thinking, drawing, talking. Out of nowhere, Jim’s lying on the ground in front of the limb-and-leaf backdrop. He’s perfectly still. Is it overdone performance, or is he my muse for the day? I decide, game-face on, he’ll be my muse. Most people have left to find stories in the neighborhood surrounding the park. Some have driven to other parts of town.

The hard part is finding a story in that. You have to, though. Day Two slideshow is at 7 pm. That’s just a couple hours from now.

This is the day that I realize I need to be inspired by the constraints that exist at camp. There are constraints of time, obviously. Cooking out a slideshow from a day of conversations, excursions, light reading, trundling in RVs, following fellow campers in the woods. All this means I have to hold my ideas lightly, not make things too precious, keeping my nose up for any whiff of a story to find and tell.

Today, I’ve become sensitized to what Soth refers to as “humble epics.” Big, powerful things, perhaps in modest, carefully constructed, simple, compact, $18 or cheaper packages.

That’s a kind of storytelling that feels quite modern in a sense. The overwrought image and text story is not what will come out of camp. There are no Taschen-sized epics to be done here, at least for me. I find that liberating. As I quickly refine and hone and edit my forest slideshow, I consider LBM’s obsession with audaciously democratizing the pricing of their publications at $18. I think about Target, the Twin Cities mega-mega that I can imagine goes to nutso ends to whittle pricing by fractions of pennies to make them the no-brainer store. Soth mentions an LBM book that they couldn’t get cheaper than $24, and you can physically see the disappointment at the price-point in his shoulders. Soth would make a great Target buyer. You know, in case this whole photography thing doesn’t work out.

The inexpensive, accessible, humble, epic, image+text LBM books come with an inherent simplicity in production, packaging, and design that is an aesthetic in its own right. Accessible, humble epics are a thing of note, especially within the world that Soth could circulate. He’s a Minnesotan first, Magnum photographer second. Beautiful, seductive, tangible $18 stories-in-books are not a gimmick. Free camp isn’t a gimmick. I can see the earnestness in his explanation of the non-tuition camp. He wants it open. He doesn’t want to turn away someone who could not afford to attend because of a fee. He doesn’t want LBM to be big business.

And only now do I realize that we’re learning how to tell stories. I’ve never mentioned it and stifled the thought in my own head, but we’ve not had formal discussions about photography. At the end of Day Two, during the slideshow, I resolve the suspicion I’ve had since shortly before I arrived: this is not a photography camp, despite being in a photography studio. That thought relaxes me. No one’s geeking out on gear. There is scant feedback on technical elements of image-making or storytelling. We’re free to find stories. Of course, that’s liberating and debilitating at the same time. We’re not told what to do. We’re only told that “whatever you do, whatever story you want to tell at the public slideshow on Saturday, it mustn’t take more than five minutes to tell.”

Day Three
Bookmaking Day, although we don’t make books. We talk about books and their making and unmaking. Some campers wonder why we’re doing a slideshow rather than a book as a final deliverable. A book is easier to keep and share and show again and again. We have a nice, long discussion in the morning facilitated by Alec and designer and art director Hans Seeger. We talk about the materiality and tangibility of books. Their preciousness. The contrast in books designed too earnestly, and books devoid of design that are merely containers for famous photographs by famous photographers. We talked about the great glissade of books after 1986 when computers performed their radical democratization of visual design and publishing. And I wondered how short-form composition and networked dissemination frameworks like Twitter, Instagram, and Vine would do similar things. I wonder aloud to camp if the modern image+text story as we know it now—the things in Soth’s studio library—are for doddering “old” folks like us? I want to talk about the modern, modern image+text story? Is Adam Goldberg’s Vine feed tomorrow’s Willliam Eggleston, or perhaps Cindy Sherman? The comparison may sound idiotic. I once thought that instantly sharing one’s thoughts in 140 characters was idiotic and self-indulgent. I once thought #selfies were idiotic. Then the Arab Spring happened, facilitated in part by 140 characters and what protesters could share in a single image.

The bookmaking-day discussions turn into a list of books to get and a note to consider getting another bookshelf at home. That’s fine. Having a library of books—the material sort—is validated by LBM’s amazing collection. It’s the morning-quiet-time gathering place we all meander through as our coffee takes hold. There’s a quiet reverence to the library in the mornings as campers peruse the stacks, heads cocked to the side to read titles. I find my first photo book in the B’s [Hello, Skater Girl, 2012] and feel suddenly embarrassed at its earnest naivete. I wish I had been to camp and learned what I am learning at camp before I made that.

LBM is a publisher of stories, so one might think camp would do a book as a final outcome. But that brings along complexity and time and money, and you begin to obsess over the operational details of producing such a thing. The slideshow. It has a tradition. It’s familial. It’s familiar. It’s something that can be condensed into a short amount of time. It has history."

"I think about “bookmaking” day’s discussion of Darin Mickey’s Stuff I Gotta Remember Not To Forget and his image story about his father’s odd, Cohen-esque life as a salesman of storage space in underground vaults. In 27 images, Mickey tells a remarkable, humorous, heartfelt story about his father. And I think of Soth’s image of a strikingly pale Indonesian girl he stumbles upon, photographs for The Auckland Project, loses the photograph and then spends the rest of his time struggling to find a story, struggling to find an image that moves him. He finds “missing cat” posters, bird road kill, and pale models. Just hours before he leaves Auckland, he stumbles upon Diandra, the pale Indonesian girl, sitting delicately on a low wall, watching the tiniest bird.

These count as powerful stories in my mind and from what I’ve been learning at camp. I’m thinking about “humble epics,” creative constraints. And how to get done in the next four hours."
julianbleecker  campforsociallyawkwardstorytellers  alecsoth  openstudioproject  camp  lcproject  classideas  walkerartcenter  minnesota  adventure  fun  conferences  unconferences  experientialeducation  design  bookslcproject  summerinwintercamp  littlebrownmushroom  ncmideas  conferenceideas  2013  camps  learning  collaboration  projectideas  experientiallearning 
august 2013 by robertogreco
UC San Diego's V.S. Ramachandran Named One of TIME 100
"Ramachandran takes as his models 19th-century giants of science Charles Darwin and Michael Faraday. He praises them for wide-ranging and capacious thinking, for being willing to investigate phenomena that others might consider trivial.

"Science has become too professionalized," he said: "It began as grand romantic enterprise" and is now too like an ordinary 9-5 job.

"The history of science and the history of ideas are not taught in universities now, except in philosophy courses," Ramachandran said. "Too much of the Victorian sense of adventure has been lost. I would like to reignite some of that passion in students.""
vsamachandran  ucsd  science  adventure  curiosity  work  labor  2011  via:anne  proffesionalization  passion  whywework  darwin  charlesdarwin 
february 2013 by robertogreco
Into the Woods | Trent Walton
"We were all afraid of pressing on, and everyone had his own excuse for why we shouldn’t go, but the fear of being grounded or getting lost in the dark woods overnight couldn’t compete with the weight of a double-dare. So we set out."

"We were Goonies, conquistadors, astronauts; we had forever changed our world."

"So many great childhood memories are the result of our decision to follow that one trail. It redefined everything for us and expanded our territory exponentially. These days, I’m happiest when I feel part of a team with the same adventurous spirit as that kid gang. The web is, after all, as limited as my old neighborhood with boundaries set by our current tools and technologies, as well as our understanding of each. I believe my work counts most when I’m looking for new trails and feel brave enough to blaze them. I know that the minute I dismiss new discoveries or ideas because the way forward isn’t clear is when I’ve lost my sense of wonder for web design…"
risktaking  gamechanging  astronauts  fear  memories  adventure  mystery  exploration  typography  css3  html5  webdev  trentwalton  2012  woods  goonies  childhood  webdesign  from delicious
january 2013 by robertogreco
Don’t Do What I Do | Seth W.
"You can prepare, fill your head with knowledge, listen to podcasts, buy a lightweight and foldable jacket and $250 pants, and email other people who’ve done the same thing, but really you just need to set off on your own. You need to make your own mistakes, because they’re yours. You’ll learn all the lessons you need to learn.

Am I telling you to trust a complete stranger with ALL your stuff? No.

I’m telling you to go make your own advenutres. Stop waiting for permission, stop waiting for the right circumstances, stop waiting, stop waiting, stop… waiting."

See also:

"In August of 2010 I ditched my stuff and started traveling full-time while working remotely…

Since then: traveled from Brooklyn, NY to New Orleans, LA, over to Austin, TX and as far west as Albuquerque, NM. Visiting 12 cities in 14 days was fun, too, when I traveled by bike and train from Miami, FL to Portland, ME.

I carry everything I own in a bag (currently a Chrome Yalta)."
sethwerkheiser  experience  preparation  deschooling  unschooling  learning  yearoff2  exploration  trust  justdo  waiting  cv  travel  adventure  2012  bikes  biking  possessions  minimalism  yearoff  wandering  packing  from delicious
november 2012 by robertogreco
Drawing Guns | Seth W.
"There are so many people writing about social media, sports, technology, and politics. But we’re all doing it while sitting behind our laptops. In coffee shops. In comfortable chairs. There is no danger. No risk. Write a post about the latest Apple product or upset win, add some keywords and a SEO-juiced headline and you’ll get traffic.

It’s a formula. There’s a map. It’s easy.

To get the story above, however, I had to live out of a bag. I quit my day job. I endured overnight bus rides, and slept on lots of couches.

More danger makes for better stories."
storytelling  hard  blogging  blogs  exploration  adventure  experience  2012  uncharted  learning  risktaking  risk  danfer  sethwerkheiser  from delicious
november 2012 by robertogreco
Manhood for Amateurs: The Wilderness of Childhood by Michael Chabon | The New York Review of Books
"Art is a form of exploration, of sailing off into the unknown alone, heading for those unmarked places on the map. If children are not permitted—not taught—to be adventurers and explorers as children, what will become of the world of adventure, of stories, of literature itself?"
2009  learning  literature  deschooling  unschooling  storytelling  adventure  michaelchabon  cv  children  exploration  art  manhood  masculinity  from delicious
november 2012 by robertogreco
The Gastronauts
"The idea behind the club wasn’t to eat Fear Factor stuff, but to get people away from solely eating foods they were comfortable with; we figured having friends along would amortize the awkwardness. By way of background, Curtiss grew up in Austria/Germany/Italy, and Ben in Brazil/ Australia/Thailand, so we were both accustomed to nasty bits and odd foods. We had six folks along that first night, but soldiered on, hosting a dinner each month. We tried to keep it pretty quiet, taking in only friends and their friends, and shooing away media inquiries, but it grew and grew.

Today, our little club has expanded to roughly 1000 people, with a second chapter in Los Angeles. We receive international and domestic press requests on weekly basis, and new applications every day. Without exaggeration, we’re by far the biggest dining club of this sort in the world. Our monthly dinners have an average of 70+ people (and a long wait list) which allows us to create custom, adventurous menus with…"
comfortzone  gastronauts  foodies  adventure  restaurants  eating  washingtondc  losangeles  nyc  food  dc  from delicious
august 2012 by robertogreco
Casey A. Gollan: Notes + Links: Week 4 [Casey Gollan sets the new standard in week notes. This is the ultimate record of a week's learning.]
"I’m sick & tired of things so vast I can’t understand them. Genetics. Capitalism. International relations…

Everything in my experience confirms that I am here. I stretch almost compulsively, feeling out my body’s physicality…

Somehow I have landed in a nunnery. Dedicated to the advancement of science & art. There should just be a fucking school, where people go to learn multiplication in the reproductive sense.

We are the scum of earth. The thought leaders. There is some debauchery, but in comparison this is a place of rigor. Home of chaste workers.

What’s disturbing is that the educated go out & control world. I met a consultant who has broken trust down to a science, which she sells to corporations. Trust, she says, is good for business. & what about business? What’s that good for? I asked her. She smiled smart-but-dead-like & said, you have to believe that growing the economy is good for the world. Consulting is a desired job—maybe the quintessential job—of the educated class."
adhd  add  self-help  digitalportfolios  blogging  handwrittennotes  deschooling  education  art  walking  nyc  cooperunion  evidenceoflearning  howwelearn  thisislearning  unschooling  adventure  notetaking  notes  2012  caseygollan  weeknotes 
february 2012 by robertogreco
Adventure! | This American Life
"ACT ONE. CHINESE CHECKMATE. Some adventures you seek out on purpose, and others hunt you down. Producer Alex Blumberg tells this story, about the experience a guy had in China...which started out as first kind of adventure, then quickly turned into the second kind. Alex is one of the creators of Planet Money."
adventure  experience  thisamericanlife  2011  china  prison  diversity  travel  crime  culture  misunderstanding  life  from delicious
october 2011 by robertogreco
"The ur-game for computers — Adventure — was originally written by Will Crowther in 1975 and greatly extended by Don Woods in 1976. I have taken Woods’s original FORTRAN program for Adventure Version 1.0 and recast it in the CWEB idiom.

I remember being fascinated by this game when John McCarthy showed it to me in 1977. I started with no clues about the purpose of the game or what I should do; just the computer’s comment that I was at the end of a forest road facing a small brick building. Little by little, the game revealed its secrets, just as its designers had cleverly plotted. What a thrill it was when I first got past the green snake! Clearly the game was potentially addictive, so I forced myself to stop playing — reasoning that it was great fun, sure, but traditional computer science research is great fun too, possibly even more so.

Now here I am, 21 years later, returning to the great Adventure after having indeed had many exciting adventures in Computer Science"
adventure  history  1977  programming  fiction  interactive  via:robinsloan  willcrowther  cweb  coding  games  gaming  videogames  cyoa  filetype:pdf  media:document  if  interactivefiction  from delicious
july 2011 by robertogreco
Post by Robin Sloan: Who writes modern adventure?
"Just finished Jack London's Tales of the Fish Patrol & loved it: crazy vignettes of vigilante lawmen and their adventures in sailboats up & down San Francisco Bay.

Lately I've been feeling a surging appreciation for writers like London and Kipling (especially in _Kim_) and Edgar Rice Burroughs (though his prose doesn't hold up as well as the other two). Or even a dude like H. Rider Haggard (whose character Allan Quatermain was the template for Indiana Jones).

I feel like we've lost this genre—true adventure. Litfic definitely doesn't do it, and mass-market thrillers (Clancy, Child, even Stieg Larsson etc.) are doing something else these days—something much darker. There's a brightness to London, etc., even when they're writing about shipwrecks or skulduggery. I guess some YA fiction comes close... but it all seems so drenched in magic lately. None of the bright grit of a book like Kim.

Am I missing somebody obvious, though? Who writes modern adventure?"

[See the replies.]
books  adventure  booklists  jacklondon  williamgibson  robinsloan  rudyardkipling  edgarriceburroughs  from delicious
july 2011 by robertogreco
The end of zero risk in childhood? | Tim Gill | Comment is free | The Guardian
"In 1980s & 90s we collectively fell prey to what I call the zero-risk childhood. Children were seen as irredeemably stupid, as fragile as china plates, & utterly unable to learn from their mistakes. Hence the role of adults was to protect them from all risk, no matter what the cost.

In the past years we have begun to realise the flaws in this zero-risk logic. The constant stream of jaw-dropping anecdotes – children arrested for building a tree house, teachers having to complete reams of paperwork to take classes to the local church, schools banning chase games – has brought home an insight that should have been obvious from our childhoods: children need challenge…adventure…uncertainty…risk.

Children learn a great deal from their own efforts, & from their mistakes. If we try too hard to keep them safe, we starve them of the very experiences that they need if they are to learn how to deal w/ the everyday ups & downs of life. What is more, children themselves recognise this."
resilience  timgill  parenting  teaching  tcsnmy  lcproject  overparenting  helicopterparents  helicopterparenting  experience  learning  unschooling  deschooling  risk  riskaversion  2011  uk  danger  safety  policy  fear  uncertainty  adventure  adversity  challenge  from delicious
july 2011 by robertogreco
Plutopia 2011: The Future of Play Monday March 14, 2011 at SXSW Interactive
"The Future of Play will explore the concept of play as transformative, in terms of four key aspects: Social Play (including community and communication); Action Play (sports, gaming, etc.); Mental and Emotional Play (including exploration, adventure and imagination); and Sound Play."
sxsw  events  technology  community  interactive  play  plutopia  2011  plutopia2011  communication  social  socialplay  mentalplay  emotionalplay  soundplay  actionplay  sports  gaming  imagination  adventure  exploration  brucesterling  djspooky  from delicious
january 2011 by robertogreco
The Innovative Educator: 20 Characteristics I’ve Discovered about Unschoolers and Why Innovative Educators Should Care
"They are driven by passion…have a love of learning…want you to know school isn’t best place to learn lessons on socialization…are happy…have interesting careers they enjoy…are artistic…creative…have a concern for environment…consider learning in the world far more authentic & valuable then learning in school world…deeply consider whether college is right choice for them rather than it being a given…have no problem getting in to college…appreciate some aspects of formalized schooling in college if they’ve decided to attend…advocate for themselves & their right to meaningful curriculum in college…don’t believe they are an exception because they are especially self motivated, driven, or smart…shrug off the criticism that they won’t be able to function in the real world…don’t expect learning to come just from a parent, adult, authority or teacher…are often defending the fact that they were unschooled…are adventurous…are grateful they were unschooled"
unschooling  education  schooling  learning  homeschool  glvo  via:rushtheiceberg  teaching  tcsnmy  lcproject  srg  edg  adults  colleges  universities  creativity  adventure  exploration  lifelonglearning  comments  anseladams  dorislessing  dropouts  richardbranson  deschooling  lisanielsen  from delicious
january 2011 by robertogreco
Shigeru Miyamoto, Nintendo’s man behind Mario : The New Yorker
"Miyamoto has told variations on the cave story a few times over the years, in order to emphasize the extent to which he was surrounded by nature, as a child, and also to claim his youthful explorations as a source of his aptitude and enthusiasm for inventing and designing video games."

"The Dutch cultural historian Johan Huizinga, in his classic 1938 study “Homo Ludens” (“Man the Player”), argued that play was one of the essential components of culture—that it in fact predates culture, because even animals play. His definition of play is instructive. One, play is free—it must be voluntary. Prisoners of war forced to play Russian roulette are not at play. Two, it is separate; it takes place outside the realm of ordinary life and is unserious, in terms of its consequences. A game of chess has no bearing on your survival (unless the opponent is Death). Three, it is unproductive; nothing comes of it—nothing of material value, anyway. Plastic trophies, plush stuffed animals, and bragging rights cannot be monetized. Four, it follows an established set of parameters and rules, and requires some artificial boundary of time and space. Tennis requires lines and a net and the agreement of its participants to abide by the conceit that those boundaries matter. Five, it is uncertain; the outcome is unknown, and uncertainty can create opportunities for discretion and improvisation. In Hyrule, you may or may not get past the Deku Babas, and you can slay them with your own particular panache.

The French intellectual Roger Caillois, in a 1958 response to Huizinga entitled “Man, Play and Games,” called play “an occasion of pure waste: waste of time, energy, ingenuity, skill, and often of money.” Therein lies its utility, as a simulation that exists outside regular life. Caillois divides play into four categories: agon (competition), alea (chance), mimicry (simulation), and ilinx (vertigo). Super Mario has all four. You are competing against the game, trying to predict the seemingly random flurry of impediments it sets in your way, and pretending to be a bouncy Italian plumber in a realm of mushrooms and bricks. As for vertigo, what Caillois has in mind is the surrender of stability and the embrace of panic, such as you might experience while skiing. Mario’s dizzying rate of passage through whatever world he’s in—the onslaught of enemies and options—confers a kind of vertigo on the gaming experience. Like skiing, it requires a certain degree of mastery, a countervailing ability to contend with the panic and reassert a measure of stability. In short, the game requires participation, and so you can call it play.

Caillois also introduces the idea that games range along a continuum between two modes: ludus, “the taste for gratuitous difficulty,” and paidia, “the power of improvisation and joy.” A crossword puzzle is ludus. Kill the Carrier is paidia (unless you’re the carrier). Super Mario and Zelda seem to be perched right between the two."
games  nintendo  miyamoto  shigerumiyamoto  design  art  inspiration  videogames  childhood  exploration  nature  naturedeficitdisorder  wonder  children  play  unstructuredtime  gaming  mario  japan  history  edg  srg  glvo  unschooling  deschooling  topost  toshare  classideas  narratology  ludology  adventure  rogercaillois  johanhuizinga  work  gamification  asobi  funware  music  guitar  self-improvement  kyokan  empathy  collaboration  japanese  jesperjuul  janemcgonigal  animals  focusgroups  gamedesign  experience  from delicious
december 2010 by robertogreco
Gaiman, Morrison, and the strange substratum « Snarkmarket
"But this is the impor­tant part: I think if you look on any writer’s shelf in TV or Hol­ly­wood, you’ll find Mor­ri­son. That’s def­i­nitely true of writ­ers of shows like Bat­tlestar Galac­tica and LOST. Yes—in fact, LOST is basi­cally a TV series writ­ten by Grant Mor­ri­son. It’s his techno-occultism, his rain­bow sophis­ti­ca­tion. Comic-book adven­ture meets quan­tum foam meets Rider-Waite. I really believe the writ­ing staff at LOST would cop to it."
snarkmarket  robinsloan  grantmorrison  neilgaiman  lost  writing  comics  toread  battlestargalactica  adventure 
february 2010 by robertogreco
Manhood for Amateurs: The Wilderness of Childhood - The New York Review of Books
"Childhood is a branch of cartography... Most great stories of adventure ... come furnished with a map... traveler soon learns that the only way to come to know a city ... is to visit it alone, preferably on foot, ... become as lost as one possibly can. ... our children have become cult objects to us, too precious to be risked. At the same time they have become fetishes, the objects of an unhealthy and diseased fixation. And once something is fetishized, capitalism steps in and finds a way to sell it. What is the impact of the closing down of the Wilderness on the development of children's imaginations? ... Should I send my children out to play? ... Even if I do send them out, will there be anyone to play with? Art is a form of exploration, of sailing off into the unknown alone, heading for those unmarked places on the map. If children are not permitted—not taught—to be adventurers and explorers as children, what will become of the world of adventure, of stories, of literature itself?"
children  childhood  parenting  society  freedom  fear  safety  maps  mapping  michaelchabon  literature  cartography  creativity  narrative  education  learning  exploration  unschooling  deschooling  travel  risk  survival  independence  adventure  stories  storytelling  danger  mattgroening  writing  culture  books  youth  kids  manhood  masculinity 
june 2009 by robertogreco
Wanderlust: GOOD traces the most famous trips in history
"When Spain commissioned Ferdinand Magellan to find a westward route to the Spice Islands in 1519, the explorer commanded five ships and 240 men. Six years later, nearly every member of the expedition, including its commander, was dead. When the American writer Jack Kerouac tried in 1951 to find the words to convey his wayward journey through the United States and Mexico, he commanded a typewriter and a massive stash of Benzedrine. After a few weeks, the first draft of On the Road was completed. These are just two of the journeys that have left indelible marks on our collective maps, and are endless sources of fascination. Here is compilation of some of the most famous jaunts of all time—both factual and fictional—that show us how far we’ve come, and where we might go next."
maps  mapping  history  adventure  exporation  roadtrips  travel  visualization  geography  world  literature  education  cartography  socialstudies  interactive  writing  infographics  tcsnmy 
june 2009 by robertogreco
Learning Options in Failed School Environments - OLPC News
"While the people debated whether OLPC is related to Taiwanese net-books or American e-ink gizmos; new learning paradigms were being created: free choice learning, action learning, cooperative learning (not to be confused with collaborative learning), adventure learning, project learning, integrated studies, youth voice, service-learning, and community-based. They are all being used in environments in which the formal school system has failed or the parents have given the schools a vote of no confidence."
education  schools  learning  olpc  cooperation  adventure  tcsnmy  curriculum  publicschools  lcproject  projectbasedlearning  integrative  servicelearning  media  community  alankay  informallearning  unschooling  deschooling  technology  pedagogy  pbl 
april 2009 by robertogreco
Finding the lost city - The Boston Globe
"Yet in recent years archeologists have begun to find evidence of what Fawcett had always claimed: ancient ruins buried deep in the Amazon, in places ranging from the Bolivian flood plains to the Brazilian forests. These ruins include enormous man-made earth mounds, plazas, geometrically aligned causeways, bridges, elaborately engineered canal systems, and even an apparent astronomical observatory tower made of huge granite rocks that has been dubbed "the Stonehenge of the Amazon."
southamerica  geography  anthropology  amazon  archaeology  science  exploration  civilization  culture  legend  adventure  history 
february 2009 by robertogreco
Unschool Adventures: Trips for the Untethered Teen
"Unschool Adventures designs and leads innovative trips, both domestic and international, for independent teenagers. No two trips are the same, and each is designed with a specific mission in mind. We take advantage of off-season travel benefits by leading trips (typically two each year) in the spring and fall instead of summer and winter."
unschooling  deschooling  travel  adventure  glvo  learning  education  lcproject  teens 
december 2008 by robertogreco
Peter Hirschberg's Journal: 'Adventure' for iPhone / iPod Touch!
"'Adventure' for the iPhone/iPod Touch is now available on the Apple App Store for free! This is my first iPhone app (trust me, I plan others). Enjoy!"
games  gaming  iphone  vintage  atari  adventure  retro  applications  ios 
november 2008 by robertogreco
StreetWars: A 3 week long, 24/7, watergun assassination tournament - NYC, Vancouver, Vienna, San Francisco
"StreetWars is a 3 week long, 24/7, watergun assassination tournament that has already taken place in New York City, Vancouver, Vienna, San Francisco, Los Angeles, London, and is now coming to San Diego, New York City, Burning Man Festival, Barcelona."
games  flashmobs  adventure  spy  arg  urban  entertainment  experience  location  losangeles  pervasive  play  mobile  socialnetworking  socialmedia  cities 
june 2008 by robertogreco
"about Jane McGonigal's game design, game studies, game research, alternate reality gaming, future forecasts, the science of happiness, engagement, quality of life, immersive experience, collaborative learning, collective intelligence, computer games, pat
games  research  art  play  gamedesign  arg  janemcgonigal  gamedev  future  futurology  pervasive  performance  adventure  gaming 
june 2008 by robertogreco
Op-Ed Contributor - Put a Little Science in Your Life - Op-Ed - [via:]
"educational system fails to teach science in way that allows students to integrate it into lives...We must embark on a cultural shift that places science in rightful place alongside music, art & literature as indispensable part of what makes life worth l
science  education  interdisciplinary  understanding  curriculum  curiosity  learning  schools  children  youth  teens  life  unschooling  deschooling  gamechanging  knowledge  culture  literature  art  books  classideas  adventure  briangreene 
june 2008 by robertogreco
"Abandoning a successful medical practice, he sought self-fulfillment by taking up the nomadic life of a surfer. But unlike other American searchers like Thoreau or Kerouac, Paskowitz took his wife and nine children along for the ride, all eleven of them
film  surf  homeschool  surfing  adventure  travel  freedom  documentary  outsiders  towatch  glvo  outsider 
june 2008 by robertogreco
Subtraction: The Adventures of Tintin in the 21st Century
"Just think about that: a simple comic book, originally intended for children (or the young at heart), that’s captured the imagination of three generations of my family, and has probably done the same for countless other multi-generational families, too
belgium  comics  tintin  hergé  children  generations  reading  adventure 
april 2008 by robertogreco
WebUrbanist » Urban Adventure Playgrounds: The Coolest Places You Probably Never Played as a Kid
"adventure playgrounds are places where children can create and modify their own environments, rather than relying on rigid equipment that only serves a limit set of programmed purposes"
architecture  children  design  playgrounds  urban  parenting  safety  risk  play  adventure 
december 2007 by robertogreco

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