recentpopularlog in

robertogreco : cows   10

Going Home with Wendell Berry | The New Yorker
[via: https://twitter.com/annegalloway/status/1150867868696772608 ]

[Too much to quote, so here’s what Anne quoted:]

“Lancie Clippinger said to me, and he was very serious, that a man oughtn’t to milk but about twenty-five cows, because if he keeps to that number, he’ll see them every day. If he milks more than that, he’ll do the work but never see the cows! The number will vary from person to person, I think, but Lancie’s experience had told him something important.”
via:anne  wendellberry  rural  slow  small  empathy  kindness  georgesaunders  relationships  neighbors  amish  care  caring  maintenance  human-animalrelations  human-animalrelationships  culture  farming  agriculture  local  locality  place  trees  history  multispecies  morethanhuman  language  restorativejustice  justice  climatejustice  socialjustice  johnlukacs  environment  sustainability  kentucky  land  immigration  labor  work  gender  ownership  collectivism  conversation  lancieclippinger  god  faith  religion  christianity  submission  amandapetrusich  individualism  stewardship  limits  constraints  memory  robertburns  kafka  capitalism  corporations  life  living  provincialism  seamusheaney  patrickkavanagh  animals  cows  freedom  limitlessness  choice  happiness  davidkline  thomasmerton  service  maurytilleen  crops  us  donaldtrump  adlaistevenson  ezrataftbenson  politics  conservation  robertfrost  pleasure  writing  andycatlett  howwewrite  education  nature  adhd  wonder  schools  schooling  experience  experientiallearning  place-based  hereandnow  presence 
9 weeks ago by robertogreco
Anne Galloway 'Speculative Design and Glass Slaughterhouses' - This is HCD
"Andy: You’ve got quite an interesting background. I’m going to ask you about in a second. I wanted to start with the quote from Ursula Le Guin that you have on your website. It’s from the Lathe of Heaven. “We’re in the world, not against it. It doesn’t work to try and stand outside things and run them that way, it just doesn’t work. It goes against life. There is a way, but you have to follow it, the world is, no matter how we think it ought to be, you have to be with it, you have to let it be.

Then on the More Than Human website, you have these three questions. What if we refuse to uncouple nature and culture? What if we deny that human beings are exceptional? What if we stop speaking and listening only to ourselves? The More Than Human lab explores everyday entanglements of humans and non-humans and imagines more sustainable ways of thinking, making, and doing. Anne, let’s get started by first talking about what do you mean by all of that?

Anne: The Ursula Le Guin quote I love mostly because a critical perspective or an activist perspective, anything that says we ought to be changing the world in any way, it always assumes that we need to fix something, that the world is broken and that designers especially are well-suited to be able to solve some of these problems. I like thinking about what it means to respond to injustice by accepting it, not in the sense of believing that it’s okay or right, because clearly, it’s been identify as unjust. I love Le Guin’s attention to the fact that there is a way to be in the world.

As soon as we think that we’re outside of it, any choices or decisions or actions that we take are, well, they sit outside of it as well. I like being embedded in the trouble. I like Donna Haraway’s idea of staying with the trouble. It’s not that we have to accept that things are problematic, but rather that we have to work within the structures that already exist. Not to keep them that way, in fact, many should be dismantled or changed. Rather, to accept that there is a flow to the universe.

Of course, Le Guin was talking about Taoism, but here what I wanted to draw attention to is often our imperative to fix or to solve or to change things comes with a belief that we’re not part of the world that we’re trying to fix and change. It’s that that I want to highlight. That when we start asking difficult questions about the world, we can never remove ourselves from them. We’re complicit, we are on the receiving end of things. We’re never distant from it. I think that subtle but important shift in deciding how we approach our work is really important."



"Andy: Yes, okay. I was thinking about this, I was reading, in conjunction, this little Le Guin quote, I was trying to think, it’s unusual in the sense that it’s a discipline or a practice of design that uses its own practice to critique itself. It’s using design to critique design in many respects. A lot of what speculative design is talking about is, look what happens when we put stuff into the world, in some way, without much thought. I was trying to think if there was another discipline that does that. I think probably in the humanities there are, and certainly in sociology I think there probably is, where it uses its own discipline to critique itself. It’s a fairly unusual setup.

Anne: I would think actually it’s quite common in the humanities, perhaps the social sciences, where it’s not common is in the sciences. Any reflexive turn in any of the humanities would have used the discipline. Historiography is that sort of thing. Applied philosophy is that sort of thing. Reflexive anthropology is that sort of thing. I think it’s actually quite common, just not in the sciences, and design often tries to align itself with the sciences instead.

Andy: Yes, there was a great piece in the Aeon the other day, about how science doesn’t have an adequate description or explanation for consciousness. Yet, it’s the only thing it can be certain of. With that, it also doesn’t really seem to come up in the technology industry that much, because it’s so heavily aligned with science. Technology, and you’ve got this background in culture studies and science and technology and society, technology is a really strong vein throughout speculative design. Indeed, your work, right? Counting sheep is about the Internet of Things, and sheep. Do you want to tell us a little bit about that and why I am talking to you from the picture things to the Lord of the Rings, it basically looks like you’re living in part of the Shire in Middle Earth?

Anne: I do live in a place that looks remarkably like the Shire. It’s a bit disconcerting at times. The science and technology question in speculative design I think is first of all a matter of convenience. Science fiction, speculation, they lean historically, habitually towards science and tech. It becomes an easy target for critique. Not that it’s not necessary, but it’s right there, so why not? There’s that element to it. It has an easier ability to be transformed into something fanciful or terrifying, which allows for certain kinds of storytelling through speculation, that I think people, both creators and audiences or readers really enjoy.

Now, the irony of all of this, of course is that arguably one of the greatest concerns that people have would be tied to technological determinism, the idea that we’re going to have these technologies anyway, so what are we going to do about it? Now, when you speculate using these technologies, what you’re doing is actually reinforcing the idea that these technologies are coming, you play right into the same technological determinism that you’re trying to critique. In fact, one of the counting sheep scenarios was designed specifically to avoid the technology. It was the one that got the most positive responses."



"Andy: With all of this, and I may this pop at the beginning, just before we were recording, that there’s a sense of, because of everything going on in the world, that if only designers could run the world, everything would be fine, right, because we can see all of the solutions to everything. What would you want designers to get out of this kind of work or this kind of perspective?

Anne: Humility. That simple. I am one of those people. It’s because of being an ethnographer as well and doing participant observation and interviewing many people and their ideas about design. I’ve run into far more people who think that designers are arrogant than ones who don’t. This has always really interested me. What is it that designers do that seems to rub non-designers the wrong way? Part of it is this sense of, or implication that they know better than the rest of us, or that a designer will come in and say, “Let me fix your problem”, before even asking if there is a problem that the person wants fixed.

I actually gave a guest lecture in a class just the other day, where I suggested that there were people in the world who thought that designers were arrogant. One of the post-graduate students in the class really took umbrage at this and wanted to know why it was that designers were arrogant for offering to fix problems, but a builder wasn’t, or a doctor wasn’t.

Andy: What was your answer?

Anne: Well, my answer was, generally speaking, people go to them first and say, “I have this problem, I need help.” Whereas, designers come up with a problem, go find people that they think have it and then tell them they’d like to solve it. I think just on a social level, that is profoundly anti-social. That is not how people enjoy socially interacting with people.

Andy: I can completely see that and I think that I would say that argument has also levelled, quite rightly, a lot of Silicon Valley, which is the answer to everything is some kind of technology engineering startup to fix all the problems that all the other technology and engineering startups that are no longer startups have created. It’s probably true of quite a lot of areas of business and finance, as well, and politics, for that matter. The counter, I could imagine a designer saying, “Well, that’s not really true”, because one of the things as human-centred designers, the first thing we do, we go out, we do design ethnography, we go and speak to people, we go and observe, we go and do all of that stuff. We really understand their problems. We’re not just telling people what needs to be fixed. We’re going there and understanding things. What’s your response to that?

Anne: Well, my first response is, yes, that’s absolutely true. There are lots of very good designers in the world who do precisely that. Because I work in an academic institution though, I’m training students. What my job involves is getting the to the point where they know the difference between telling somebody something and asking somebody something. what it means to actually understand their client or their user. I prefer to just refer to them as people. What it is that people want or need. One of the things that I offer in all of my classes is, after doing the participant observation, my students always have the opportunity to submit a rationale for no design intervention whatsoever.

That’s not something that is offered to people in a lot of business contexts because there’s a business case that’s being made. Whereas, I want my students to understand that sometimes the research demonstrates that people are actually okay, and that even if they have little problems, they’re still okay with that, that people are quite okay with living with contradictions and that they will accept some issues because it allows for other things to emerge. That if they want, they can provide the evidence for saying, “Actually, the worst thing we could do in this scenario is design anything and I refuse to design.”

Andy: Right, that and the people made trade-offs all the time because of the pain of change is much … [more]
annegalloway  design  2019  speculativefiction  designethnography  morethanhuman  ursulaleguin  livestock  agriculture  farming  sheep  meat  morethanhumanlab  activism  criticaldesign  donnaharaway  stayingwiththetrouble  taoism  flow  change  changemaking  systemsthinking  complicity  catherinecaudwell  injustice  justice  dunneandraby  consciousness  science  technology  society  speculation  speculativedesign  questioning  fiction  future  criticalthinking  whatif  anthropology  humanities  reflexiveanthropology  newzealand  socialsciences  davidgrape  powersoften  animals  cows  genevievebell  markpesce  technologicaldeterminism  dogs  cats  ethnography  cooperation  human-animalrelations  human-animalrelationships  slow  slowness  time  perception  psychology  humility  problemsolving  contentment  presence  peacefulness  workaholism  northamerica  europe  studsterkel  protestantworkethic  labor  capitalism  passion  pets  domestication 
june 2019 by robertogreco
Feeds...
"Here is a live kitten feed
Here is a live puppy feed
Here is a live penguin feed
Here is a live English Bulldog puppy feed
Here is a live parakeet feed
Here is a live sea otter feed
Here is a live panda feed
Here is a live calf feed
Here is a live chick feed
Here is a live sloth feed"
multispecies  livefeeds  animals  pandas  calves  cattle  cows  puppies  dogs  kittens  cats  penguins  parakeets  seaotters  otters  sloths 
december 2015 by robertogreco
Field Recordings by Gastropodcast
"Plants that can hear themselves being eaten. Microphone-equipped drones that eavesdrop on sick chickens. Lasers that detect an insect’s wing-beats from dozens of feet away.

In this James Bond-inspired episode of Gastropod, we listen to the soundtrack of farming, decode the meaning hidden in each squawk, moo, and buzz, and learn how we can use that information to improve our food in the future. Tune in now for this special broadcast of the barnyard orchestra!"

[via: https://digg.com/2015/field-music

"This is the first of a two-part series exploring the relationship between sound and food." ]
sound  fieldrecordings  plants  cows  insects  nature  science  farming  gastropod  nicolatwilley  cynthiagraber  food  multispecies  animals  animalwelfare  agriculture 
july 2015 by robertogreco
Here, Ansel! Sit, Avedon! - NYTimes.com
"It was in 2007 that Juergen Perthold, an engineer living in Anderson, S.C., strapped a tiny camera of his own design to the collar of his cat, Mr. Lee. When the images Mr. Lee captured while roaming around their neighborhood were posted online, they went, predictably, viral. Mr. Lee received a flurry of attention from the international media and became the star of a documentary, “CatCam: The Movie,” which made the film festival rounds in 2012 and even won a few awards.

Mr. Perthold has since refined his tiny camera, which was designed to record video or still photographs at programmable intervals, and has sold nearly 5,000 to pet owners in 35 countries, many of whom send their images back to Mr. Perthold, who displays them on his website. For Mr. Lee is not the only pet photographer, and his CatCam is not the only pet-oriented photographic device.

Last week, GoPro, a camera company made famous by surfers and other athletes who clip on its waterproof miniature Heros to record their adventures, introduced its own version: Fetch, a harness and camera mount designed for dogs. For years, pet owners had been rigging Heros to attach to their pets; perhaps you’ve seen the YouTube video of that surfing pig? (GoPro, a 10-year-old company that enjoyed a stunning I.P.O. in June, couldn’t say how many Heros have been used “off-label” in this way, but it did share its 2013 revenue: $985 million, up from $150,000 a decade ago. And GoPro’s spokesman was quick to remind this reporter that last year Americans spent nearly $60 billion on their pets.)

As programmable digital cameras get smaller and cheaper, the universe of pet, uh, journalism — or is it fine art? — has exploded. Scientists on both sides of the Atlantic have been using these technologies to learn more about the habits of all manner of animals, including house cats. The work of Leo, a cat from Yellowknife, Northwest Territories, has been made into a poster. Cooper, from Seattle, has had a gallery show of his work, which has also been collected into a book. A collaborative (what else to call them?) of Swiss cows posts their oeuvre at cowcam.ch.

Inevitably, copyright disputes have arisen over who exactly owns the images taken by nonhumans. As The Washington Post and others reported last month, David Slater, a British photographer whose camera was snatched up and passed around by macaque monkeys while he was in Indonesia in 2011, has been sparring with various media outlets, including Wikimedia, over their use of the winsome “selfie” one monkey shot with Mr. Slater’s camera."
animals  photography  gopro  pets  cats  dogs  pigs  cows  monkeys  2014  intellectualproperty  copyright  wikimedia  petcams  cameras  chriskeeney  juergenperthold  tortoises  georgejacobs  art  tonycenicola  catcam  vivianmaier  jamescoleman  dianaoswald  jamesdanziger  markcohen  paulfusco  streetphotography  alanwilson 
september 2014 by robertogreco
Are Argentina's Cows Happy Eating Grain? - WSJ.com
"Argentina's fame as a home for happy cows wandering the lush pastures of the Pampas is being challenged as an increasing number of cattle are being crowded into feedlots for the last months of their lives before being served at the table." ... ""There is no turning back -- more than 50%, and likely 70% or 80%, of Argentina's cattle are going to be finished in feed lots within the next five years," the president of the Argentine Feedlot Chamber Juan Carlos Eiras told local daily La Voz del Interior."
argentina  meat  food  beef  cows 
december 2008 by robertogreco
Cows have magnetic sense, Google Earth images indicate - Los Angeles Times
"German scientists using satellite images posted online by the Google Earth software program have observed something that has escaped the notice of farmers, herders and hunters for thousands of years: Cattle grazing or at rest tend to orient their bodies in a north-south direction just like a compass needle....Similar results were found in field studies of 2,974 red and roe deer in the Czech Republic, the researchers reported today in the Proceedings of the National Academy of Sciences. The researchers had been studying magnetism in smaller animals and were looking for a way to extend their work to larger species."
science  googleearth  cows  magnetic  deer  animals 
august 2008 by robertogreco
BUILT REPORT - Schwarzenegger Cows Photo Gallery
"Belgian Blue Beef are famous for their "double muscling" due to a gene that suppresses the production of Myostatin. Myostatin is a protein that normally inhibits muscle growth after a certain point of development. Pure Belgian Blue carry two copies of th
anatomy  animals  medicine  biology  cows  genetics  oddities 
july 2007 by robertogreco

Copy this bookmark:





to read