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A Short Hike is one part Animal Crossing and one part Breath of the Wild - The Verge
"It can be difficult to find time to finish a video game, especially if you only have a few hours a week to play. In our biweekly column Short Play we suggest video games that can be started and finished in a weekend.

Claire is on a camping trip with her Aunt May, but she’s also waiting for an important call. Unfortunately, the only reception in the park is at the top of the island’s giant mountain. Claire’s trek up the mountain is the core of the game A Short Hike, and how you get her to the top is pretty open ended. You could go straight up the path to the top of the mountain — but then you’d be missing out on the point of the game.

A Short Hike feels like what you would get if you turned Animal Crossing into an adventure game like The Legend of Zelda: Breath of the Wild. Yes, it’s an experience full of cute cartoon animal people, but more importantly A Short Hike has a similar sensibility to those two Nintendo games. Like both, the goal of the game is less important than how you spend your time getting to it. And so your trek up a mountain ends up full of much smaller tasks, which, like in Animal Crossing, are nice and relaxing.

You can spend time collecting seashells, searching for buried treasure, fishing, or helping other visitors to the park find lost items. However, while those serve as relaxing distractions, the rewards for doing them also help with your ascent up the mountain. At the start of her trek Claire is only able to jump, glide, and climb up walls or cliffs until she gets too tired and lets go. But by completing these side activities you’ll usually get some sort of tool that allows you to perform more actions, like being able to run by getting running shoes or dig by getting a shovel.

Mainly, though, you’ll be trying to collect golden feathers. These feathers act like Link’s stamina bar in Breath of the Wild: the more you have, the more you can climb before tiring out. Except, unlike Link’s stamina bar, each feather also provides you with an additional jump (which, because Claire is a bird, is more of a flap than a jump). Each flap consumes a chunk of your climbing stamina, while not providing as much height as you could have gotten just from climbing.

The climb up the mountain becomes about balancing. You have to determine how much you jump before you start climbing, in order to maximize what stamina you have. Although this is really only a concern if you try to get up the mountain as quickly as you can. If you spend your time exploring the park and taking part in all the different activities available, you’ll end up with more than enough golden fathers to make those later sections a good bit easier.

And you’ll want to spend time exploring, because the mountain is much bigger than you expect it to be. It’s a place full of interesting environments and ruins, as well as quirky and clever characters who you can’t help but want to hang around with or help out. In fact, the writing is maybe the best thing about the game. There is very little of it, but every character feels distinct from the next, and charming in their own way (even the kid that overcharges you for feathers). And when you do finally get to the top of the mountain it’s an emotional gut punch that both validates and recontextualizes whatever path you took to get there.

Luckily, getting to the top isn’t the end. Instead, it essentially frees you up to explore the park without any explicit goal. Maybe you want to catch all the different fish, win the foot race, or just stand near the beach and watch the waves. It’s a perfect structure, because even if the game had ended at the top of the mountain, I’d have found it pretty hard to not start a new game just to wander around the park some more."
games  gaming  videogames  toplay  srg  edg  animalcrossing  ashorthike  2019  adamrobinson-yu 
16 hours ago by robertogreco
The Rules that Rule Japan - YouTube
"Some people think Japan is a strange and different land, that they'll never understand. Why do the Japanese do what they do? Well, Japan and its people are not so hard to comprehend, once you realize that it's all about the rules. Once you know them, your time here will be easy peasy, Japaneasy. It'd be my pleasure if you join me in discovering the rules that rule Japan."
rules  japan  culture  2017  srg 
6 weeks ago by robertogreco
Why Do Japanese Still Use Kanji? Complicated Writing System... - YouTube
"Why Do Japanese Use Kanji? Japanese is known for its complicated writing system, but why do we use kanji? Can't we just use hiragana and katakana? Is it possible to abolish kanji?

- Hiragana and Katakana are phonetic characters.
- Kanji (literally meaning Chinese letters) is like a symbol.
- Japanese has a lot of homophones and homographs and kanji helps to distinguish them.
- We have a set of official kanji on the joyo kanji list.
- There has been a number of attempts to abolish kanji in Japanese history.
- Once, John Pelzel from the Allied occupation of Japan tried to completely romanise Japanese after WWII.

[Here's a bit of history of people who tried to abolish kanji]

1866 - Hisoka Maejima, a Japanese statesman, was said to send a proposal to the shogun, insisting on abolishing kanji.
1872 - Yukichi Fukuzawa, Japan's prominent figure featured in the current 10,000 yen bill, wrote about his idea of abolishing kanji.
1881 - A group of people started a movement to promote the use of kana letters in place of kanji.
1946 - Naoya Shiga, a famous Japanese novelist, suggested that Japan should adopt French as the official language.
1946 - The Yomiuri Shimbun, one of the most popular Japanese newspapers, published an editorial arguing that adopting Roman alphabet would be key to democratise the country."
japanese  kanji  hirgana  katakana  srg  2015  history  languages  language 
6 weeks ago by robertogreco
Hiragana & Katakana: the voice of Japanese typefaces - YouTube
"Osamu Torinoumi, Reiko Hirai
ATypI 2016 • Warsaw, Poland
Academy of Fine Arts in Warsaw ASP

The Japanese language is unique in that its written form combines four different scripts concurrently: Hiragana, Katakana, Kanji (Chinese characters) and Latin. The huge character set and the complexity of the composite Japanese script make its explanation challenging, with the result that most explanation are either basic or partial. This presentation digs deeper. A comparison of the frequency of use of Hiragana, Katakana, Kanji and Latin character in a Japanese text shows the dominant role of Kana (Hiragana and Katakana). This means that Kana most influences the tone of a paragraph, and determines the characteristic of a typeface. In spite of this importance, Kana presents challenges to designers, as there are no defined alignments like those in other scripts. Within the singular guideline of a square which encloses the form, there is considerable variation of form. Osamu Torinoumi argues that the key to understanding Kana design rests in the history of the script, from its inception in the 8th century, to current digital forms. The importance in designing Kana is to consider the inherent shape, stroke and rhythm of each Kana letter. Translation and English presentation will be handled by Reiko Hirai from Monotype."
japanese  srg  hiragana  katakana  typography  osamutorinoumi  text  graphicdesign  kana  reikohirai  typefaces  fonts  languages 
6 weeks ago by robertogreco
ZotFile - Advanced PDF management for Zotero
"Zotfile is a Zotero plugin to manage your attachments: automatically rename, move, and attach PDFs (or other files) to Zotero items, sync PDFs from your Zotero library to your (mobile) PDF reader (e.g. an iPad, Android tablet, etc.) and extract annotations from PDF files."
tools  pdf  onlinetoolkit  dropbox  zotero  annotation  android  ipad  ios  srg 
6 weeks ago by robertogreco
“On a Sunbeam,” the Sci-Fi Comic That Reimagines Utopia | The New Yorker
[Full comic available to read online:
https://www.onasunbeam.com/ ]

[See also:
https://www.tilliewalden.com/
https://www.instagram.com/tilliewalden/
https://twitter.com/TillieWalden ]

"Tillie Walden is an almost shockingly young (born in 1996) comics creator who received wide attention last year for “Spinning,” a beautiful, melancholy graphic memoir about her years as a pre-teen and then teen figure skater. That book excelled in its tactful line work and use of white space; it looked neither superhero-ish nor ugly-on-purpose nor nearly realist but utterly sympathetic, with vast cold rinks and faces whose expressions you could share. “Spinning” was also a coming-out story, and a school story, and what scholars call a Künstlerroman, the story of how a young person becomes an artist—although, like most Künstlerromanen, it left unresolved the question of what she’d make next.

“On a Sunbeam” is the magnificent, sweeping, science-fictional answer. The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

But I’m getting ahead of myself. “On a Sunbeam”—whose five hundred and thirty-eight pages, rendered in three colors, first appeared serially, online, where it can still be read for free—begins, like some Victorian novels, with two separate plots and settings, years apart. In the A plot, we meet three adult engineers and construction workers who fly their own fish-shaped spaceship from job to job, rebuilding and restoring architecture from their past (which is our distant future). The charismatic, impulsive Alma reports to Charlotte, their cautious commander; Elliot, “our very own mechanical genius,” is nonbinary (taking they/them pronouns) and non-speaking, like many autistic adults in our day. Formerly a trio “together for ages,” the team now has two younger employees: Jules, Alma’s voluble niece, and the anxious newbie Mia, fresh out of her space-based boarding school.

We see through Mia’s eyes, and through Walden’s pen, the comforting intimacy of their sleeping quarters, with its Teddy bears and bunk beds; the sublime ruined space cathedral and the other flying buildings they restore; and the realistic tasks that Mia and Jules slog through—hauling rubble, sharing sandwiches, and trying to “get through a whole day without turning into jelly” from overwork. We worry when Mia worries, and we have fun when she has fun. Jules puts into words the way Mia feels: “We don’t actually do this job to fix things,” she says. “We do it ’cause we get to climb and jump off stuff.”

Before she joined this close-knit crew, Mia attended an élite boarding school. This is where Walden sets her B plot, a place of crushes, mean girls, shifting rivalries, vast halls, anti-gravity stations, and a school-wide, slightly Quidditch-like sport called Lux, whose fish-shaped flight craft race and dodge through tunnels and in midair. Almost as soon as we meet Mia, she falls hard for a new and far more academically talented student named Grace, who reciprocates. Grace convinces a forbidding coach to let Mia chase her dream of playing Lux. The sport is normally off limits to first-years, but our couple won’t let that rule stop them. “We may be freshmen,” Grace declares, “but you can’t put an age limit on passion and dedication.”

“On a Sunbeam” is less like any other American comic, page by page, than it is like a film by Hayao Miyazaki. For Walden, faces and bodies are not types or dummies for action scenes but ways to convey emotion and expression, even as the backdrops—speleological, astronomical, aquatic, or forested—flourish and shine. Walden’s dialogue—never talky, but never too sparse to follow—complements her characters’ body language; it also brings out the feeling of ninth and tenth grade, when every impediment seems like an apocalypse, and every kind word like an angel’s violin. But that dialogue is also a clue to a set of cosmic mysteries that connect younger and older characters, present and backstory, A plot and B plot. Why does Charlotte’s employer distrust her? What does Elliott fear, and why can’t they go home? Can Mia and Jules adjust to life with this tightly knit, and apparently romantic, triad? Will Mia find love?

Mia has already found it, with Grace, and then lost it. Just as in “Spinning”—and in several other comics by Walden, short and long—our point-of-view character fell hard for a smart, dark-skinned girl when both were in their teens, and then that girl left, suddenly, and without much explanation. In “Spinning,” the real Walden goes on with her heartbroken life. In this much longer but equally heartbreaking epic, the school-age couple of Mia and Grace break up for far more complex reasons, and a mission to a secluded planet of volcanic tunnels and warriors with Amish hats (really) is required to rescue Grace, who may not want to be rescued.

It’s probably no coincidence that this comic, so sensitive to its characters’ feelings, is also uncommonly sensitive to newly visible identities: non-speaking autistics, people in triads, people trying to make queer romance work under pressure and across a racial divide. One identity Walden doesn’t draw: men. There are none here, and no one asks why, which means—as in earlier utopias—that all romantic love in this universe would read as queer, or gay, in ours. (Since there are no men, there are no gay men or trans men; perhaps they live on other planets, or in other books.)

Like all science-fictional utopias, “On a Sunbeam” feels imperfect, even (to quote Ursula K. Le Guin) “ambiguous.” But it also feels magnificent: it’s a world in which many readers would want to live, and a way to envision solutions to real-life problems that seem intractable now. It’s a queer love story in a universe where benevolent authorities still get things wrong; it’s also, for all its spacecraft and planets and xenogeology and (eventually) aliens, a story that purists might label not as science fiction but as science fantasy. But such genre labels—though inevitable—seem beside the point. As always for Walden, even when she is writing and drawing pilots and engineers, the point is not how things work but how people feel, and what choices they help one another make.

Comics critics and would-be comics sophisticates—especially the kind who spurn superheroes—may think we have to choose between realistic characters who experience permanent loss and change, on the one hand, and escape, sublimity, and sheer wonder, on the other. Those sophisticates are wrong. “On a Sunbeam” is not the first American science-fiction comic to say so (consider “Finder,” or “Saga”), but it may be the most consistently beautiful, the most self-assured, the one with the best love story, and the one most vaultingly effective in its transitions between small-scale and large, between the deadly caverns under an exoplanet’s mountain and the look on a hopeful girl’s face."
comics  toread  stephanieburt  tilliewalden  2018  illustration  storytelling  utopia  queer  autism  sciencefiction  scifi  hayaomiyazaki  emotions  expression  nonbinary  künstlerroman  comingofage  teens  youngadult  fiction  srg  emotion  bodylanguage  howwewrite  ambiguous  ursulaleguin 
11 weeks ago by robertogreco
Critical Media Practice
"a secondary field for Harvard University graduate students

The Graduate School in Arts and Sciences offers a secondary field in Critical Media Practice (CMP) for Harvard PhD students who wish to integrate media creation into their academic work. CMP reflects changing patterns of knowledge dissemination, especially innovative research that is often conducted or presented using media practices in which written language may only play a part. Audiovisual media have relationships to the world that are distinct from exclusively verbal sign systems and are able to reveal different dimensions of understanding.  They are inherently interdisciplinary and frequently engage a broader audience than the academy alone.

Students interested in creating original interpretive projects in still or moving images, sound, installation, internet applications, or other media in conjunction with their written scholarship may apply to pursue the CMP secondary field. It connects students with courses, workshops, and advising on production of media in different formats. Critical Media Practice is overseen by the Film Study Center."



"In areas across the disciplinary map — from Anthropology to Science Studies, from Sociology, Psychology, and Government to Architecture, Literature, Engineering, and Public Health — a growing number of students and faculty are seeking to integrate media creation into their academic work. The goal of the interdepartmental GSAS secondary field in Critical Media Practice is to offer graduate students across Harvard’s various schools the opportunity to make original interpretive, creative projects in image, sound, and interactive technologies in tandem with their written scholarship.

Our students work across many disciplines and in a variety of media. They span a continuum from those using artistic practices to conduct or present their scholarly research to those whose work finds its place in the art world itself. All share an excitement for art as research. They are furthering Harvard’s prominence as a place where academic inquiry can take compelling forms beyond the written word.

The human subject is constituted by imaging as well as by language and – as C.S. Peirce, Nelson Goodman, and others have demonstrated – language alone cannot be taken as paradigmatic for meaning. Aural and visual experience is as integral to culture and social relations as is language. Recent developments in neuroscience and evolutionary psychology have emphasized that consciousness itself consists of multi-stranded networks of signification that combine fragments of imagery, sensation, and memory alongside language, both propositional and non-propositional in form.

The Critical Media Practice secondary field is designed to take advantage of the fact that audiovisual media have a distinct, unique relationship to the world than exclusively verbal sign systems. It also exploits their inherent interdisciplinarity and their broader reach beyond the academy into the public intellectual sphere.

From stunning anthropological films documenting cultural traditions to interactive databases to installations exploring engineering and design, CMP projects push the boundaries of scholarship.

CMP integrates art-making within the cognitive life of the university, and specifically the graduate curriculum. Because media practice is the central component of CMP, it is distinct from a Ph.D. program in film studies, cultural studies, or any of the particular humanities or social sciences. Instead, CMP is intended to complement — to broaden and enrich — the teaching and research being undertaken in our graduate degree programs."
harvard  criticalmediapractice  sensoryethnographylab  film  interdisciplinary  media  mediacreation  cspeirce  nelsongoodman  meaning  audio  aural  visual  multisensory  multiliteracies  consciousness  sensation  memory  language  audiovisual  srg  luciencastaing-taylor  jeffreyschnapp 
11 weeks ago by robertogreco
California Studies | UCHRI
"The University of California California Studies Consortium (UCCSC) supported collaborative research by UC faculty, graduate students, and their colleagues at other institutions as part of a systemwide California Studies research initiative for the humanities, arts and social sciences. UCCSC was governed by a steering committee of faculty representatives from various UC campuses. It offered competitive grants totaling nearly $80,000 annually to support collaborative research projects, campus-community programming, and graduate travel for research.

The initiative sought to bring together the many interesting projects and discussions afoot on most of the UC campuses and to facilitate their development and elaboration in robust and creative ways by providing support for new projects to emerge. This systemwide multicampus approach to California Studies aims to sustain innovative scholarship, teaching and outreach.

UCCSC supported comprehensive critical mappings and re-mappings of California and its cultures. It places California as a site of global intersections and circulations—culturally, economically, and politically. This research initiative supported projects invested in sustained, multidisciplinary, and differently situated notions of intersection, power, history, language, migration and movement. UCCSC supplements a more traditional sense of California Studies by dealing squarely with questions of public pedagogy that address the antagonisms comprising what it means to be a “Californian.”"
california  universityofcalifornia  srg  californiastudies  uc 
may 2019 by robertogreco
Traditions of the future, by Astra Taylor (Le Monde diplomatique - English edition, May 2019)
"If the dead do not exactly have power or rights, per se, they do still have a seat at the table—Thomas Jefferson among them. In ways obvious and subtle, constructive and destructive, the present is constrained and shaped by the decisions of past generations. A vivid example is the American Constitution, in which a small group of men ratified special kinds of promises intended to be perpetual. Sometimes I imagine the Electoral College, which was devised to increase the influence of the southern states in the new union, as the cold grip of plantation owners strangling the current day. Even Jefferson’s beloved Bill of Rights, intended as protections from government overreach, has had corrosive effects. The Second Amendment’s right to bear arms allows those who plundered native land and patrolled for runaway slaves, who saw themselves in the phrase “a well regulated Militia,” to haunt us. Yet plenty of our ancestors also bequeathed us remarkable gifts, the right to free speech, privacy, and public assembly among them.

Some theorists have framed the problematic sway of the deceased over the affairs of the living as an opposition between tradition and progress. The acerbic Christian critic G. K. Chesterton put it this way: “Tradition may be defined as an extension of the franchise. Tradition means giving votes to the most obscure of all classes, our ancestors. It is the democracy of the dead. Tradition refuses to submit to the small and arrogant oligarchy of those who merely happen to be walking about. All democrats object to men being disqualified by the accident of birth; tradition objects to their being disqualified by the accident of death.” Social progress, in Chesterton’s account, can thus be seen as a form of disenfranchisement, the deceased being stripped of their suffrage. Over half a century before Chesterton, Karl Marx expressed sublime horror at the persistent presence of political zombies: “Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past. The tradition of all dead generations weighs like a nightmare on the brains of the living.”

The most eloquent partisans in this trans-temporal power struggle said their piece at the end of the 18th century. Edmund Burke and Thomas Paine had a furious debate that articulated the dichotomy between past and future, dead and living, tradition and progress. A consummate conservative shaken by the post-revolutionary violence in France, Burke defended the inherited privilege and stability of aristocratic government that radical democrats sought to overthrow: “But one of the first and most leading principles on which the commonwealth and the laws are consecrated, is lest the temporary possessors and life-renters in it, unmindful of what they have received from their ancestors, or of what is due to their posterity, should act as if they were the entire masters; that they should not think it amongst their rights to cut off the entail, or commit waste on the inheritance, by destroying at their pleasure the whole original fabric of their society.” Any revolution, Burke warned, hazards leaving those who come after “a ruin instead of an habitation” in which men, disconnected from their forerunners, “would become little better than the flies of summer.”

The left-leaning Paine would have none of it. Better to be a buzzing fly than a feudal serf. “Whenever we are planning for posterity we ought to remember that virtue is not hereditary,” he quipped. His critique, forcefully expressed in Common Sense and The Rights of Man, was not just an attack on monarchy. Rather, it was addressed to revolutionaries who might exercise undue influence over time by establishing new systems of government. “There never did, there never will, and there never can, exist a Parliament, or any description of men, or any generation of men, in any country, possessed of the right or the power of binding and controlling posterity to the ‘end of time,’” he protested.

In his pithy style, Paine popularized a commitment both to revolution and to novelty. “A nation, though continually existing, is continually in the state of renewal and succession. It is never stationary. Every day produces new births, carries minors forward to maturity, and old persons from the stage. In this ever-running flood of generations there is no part superior in authority to another.” Given the onslaught of change, a constitution “must be a novelty, and that which is not a novelty must be defective.” Never one for moderation, Paine advocated a decisive break with tradition, rejecting lessons from the past, castigating those who scoured records of ancient Greece and Rome for models or insights. What could the dead teach the living that could possibly be worth knowing?

Every person, whether or not they have children, exists as both a successor and an ancestor. We are all born into a world we did not make, subject to customs and conditions established by prior generations, and then we leave a legacy for others to inherit. Nothing illustrates this duality more profoundly than the problem of climate change, which calls into question the very future of a habitable planet.

Today, I’d guess that most of us are more able to imagine an environmental apocalypse than a green utopia. Nuclear holocaust, cyber warfare, mass extinction, superbugs, fascism’s return, and artificial intelligence turned against its makers—these conclusions we can see, but our minds struggle to conjure an image of a desirable, credible alternative to such bleak finales, to envision habitation rather than ruin.

This incapacity to see the future takes a variety of forms: young people no longer believe their lives will be better than those of their parents and financial forecasts give credence to their gloomy view; political scientists warn that we are becoming squatters in the wreckage of the not-so-distant liberal-democratic past, coining terms such as dedemocratization and postdemocracy to describe the erosion of democratic institutions and norms alongside an ongoing concentration of economic power. Meanwhile, conservative leaders cheer on democratic regression under the cover of nostalgia—“Make America Great Again,” “Take Our Country Back”—and seek to rewind the clock to an imaginary and exclusive past that never really existed."



"Questions of labor and leisure—of free time—have been central to debates about self-government since peasant citizens flooded the Athenian Pnyx. Plato and Aristotle, unapologetic elitists, were aghast that smiths and shoemakers were permitted to rub shoulders with the Assembly’s wellborn. This offense to hierarchical sensibilities was possible only because commoners were compensated for their attendance. Payments sustained the participation of the poor—that’s what held them up—so they could miss a day’s work over hot flames or at the cobbler’s bench to exercise power on equal footing with would-be oligarchs.

For all their disdain, Plato’s and Aristotle’s conviction that leisure facilitates political participation isn’t wrong. Throughout the nineteenth and twentieth centuries, radical workers agreed. They organized and fought their bosses for more free time, making substantial inroads until a range of factors, including the cult of consumption and a corporate counterattack, overpowered their efforts. A more sustainable, substantive democracy means resuscitating their campaign. Free time is not just a reprieve from the grindstone; it’s an expansion of freedom and a prerequisite of self-rule.

A reduction of work hours would have salutary ecological effects as well, as environmentalists have noted. A fundamental reevaluation of labor would mean assessing which work is superfluous and which essential; which processes can be automated and which should be done by hand; what activities contribute to our alienation and subjugation and which integrate and nourish us. “The kind of work that we’ll need more of in a climate-stable future is work that’s oriented toward sustaining and improving human life as well as the lives of other species who share our world,” environmental journalist and political theorist Alyssa Battistoni has written. “That means teaching, gardening, cooking, and nursing: work that makes people’s lives better without consuming vast amounts of resources, generating significant carbon emissions, or producing huge amounts of stuff.” The time to experiment with more ecologically conscious, personally fulfilling, and democracy-enhancing modes of valuing labor and leisure is upon us, at precisely the moment that time is running out.

With climate calamity on the near horizon, liberal democracies are in a bind. The dominant economic system constrains our relationship to the future, sacrificing humanity’s well-being and the planet’s resources on the altar of endless growth while enriching and empowering the global 1 percent. Meanwhile, in America, the Constitution exacerbates this dynamic, preserving and even intensifying a system of minority rule and lashing the country’s citizens to an aristocratic past.

The fossil fuel and finance industries, alongside the officials they’ve bought off, will fight to the death to maintain the status quo, but our economic arrangements and political agreements don’t have to function the way they do. Should democratic movements manage to mount a successful challenge to the existing order, indigenous precolonial treaty-making processes provide an example of the sort of wisdom a new, sustainable consensus might contain. The Gdoonaaganinaa, or “Dish with One Spoon” treaty, outlines a relationship between the Haudenosaunee Confederacy and Nishnaabeg people. The dish symbolizes the shared land on which both groups depend and to which all are responsible; in keeping with the Haudenosaunee Great Law of peace, … [more]
astrataylor  ancesors  climatechange  history  2019  democracy  capitalism  patriarchy  whitesupremacy  borders  power  time  future  change  hannaharendt  ecology  sustainability  globalwarming  interconnected  interconnectedness  indigeneity  indigenous  leannebetasamosakesimpson  leisure  plato  aristotle  philosophy  participation  participatory  organizing  labor  work  marxism  karlmarx  socialism  freetime  longnow  bighere  longhere  bignow  annpettifor  economics  growth  degrowth  latecapitalism  neoliberalism  debt  tradition  gkchesterson  thomaspaine  thomasjefferson  us  governance  government  edmundburke  commonsense  postdemocracy  dedemocratization  institutions  artleisure  leisurearts  self-rule  collectivism  alyssanattistoni  legacy  emissions  carbonemissions  ethics  inheritance  technology  technosolutionism  canon  srg  peterthiel  elonmusk  liberalism  feminism  unions  democraticsocialism  pericles  speed  novelty  consumerism  consumption  obsolescence  capital  inequality 
may 2019 by robertogreco
LLN [Language Learning with Netflix]
"LLN is a Chrome extension that gives you superpowers over Netflix. It makes studying languages with films/series more effective and enjoyable."
languages  learning  netflix  chrome  extensions  subtitles  srg  onlinetoolkit  glvo 
may 2019 by robertogreco
Eros Black Sauce and Noodles – The Slow Zone
"If you pay no heed to what certain foods, in certain situations, tell us then we are missing something important and fundamental about the plot of a story.

Food in fiction allows the reader to share an intimate moment with a character, place or event. [Spoiler warning if you haven’t read Leviathan Wakes : Chapter 22 or S01E06]

“He’d stopped at a noodle cart, two new yens’ worth of egg noodles in black sauce steaming in their cone, when a hand clapped on his shoulder.” (Leviathan Wakes: 22 : Miller)

When Josephus Miller loses his job and travels to Eros searching for Julie Mao, he stops at a noodle cart for a steaming cone of “two new yens’ worth of egg noodles in black sauce.”

What do these noodles and sauce really represent?

The price gives us a first glance at the budget restrictions on Miller. We aren’t really sure what two new yen can really buy, but we infer that it isn’t much. Noodle carts are seen throughout the book and television series. They represent an irreplaceable part of the culture in which they feed. They are cheap, easy and abundant.

Out of all of the sauces James S. A. Corey could’ve have used, why does Miller select black sauce?

This imagery of black sauce represents two aspects of Miller’s current situation,

1. His sense of self-worth is low and the color black represents the dark thoughts, and confusion, that go unsaid. James S. A. Corey could have simply said that Miller wasn’t himself felt sad for the cards he’d been dealt. Instead we order some noodles alongside Miller taking in the scene. We, the readers, get to view the depth of his anguish for just two new yen.

2. We imagine the sauce as something dark and thick. It is a symbol of the situation Miller finds himself in. The troubles he has encountered, and will in the future, are seemingly inescapable. His difficulties seem so impassable. so dense and impenetrable.

All of this is communicated to us in a single sentence. This is the power of food in fiction. In a story that may seem distant and difficult to comprehend, we are able to engage with the story on a very human level.

Eros Black Sauce and Noodles

[recipe follows, with video]"

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

"I, Carlo, created this site dedicated to everything Expanse: novels, novellas, and the series. The inspiration to make this site came from a literal hunger. Yes, my stomach made me do it!

Every time James S. A. Corey made reference to food, my stomach growled and protested. The meals presented were different, but described so well that I could almost smell the curry or peanut sauce.

My focus is not only on the food of the Expanse, but also the literary elements of the novels and novellas.

Please follow and comment on my quest for everything Expanse!

Cordially,

Carlo"]
theexpanse  recipes  srg  food  noodles  via:lukeneff  2019  belters  jamescorey  books  fiction 
may 2019 by robertogreco
Society for Marine Mammalogy plenary talk: Asha de Vos - YouTube
[via: https://twitter.com/ashadevos/status/1121574652801773569 ]

"Listen as Dr. Asha de Vos talks about the current marine conservation climate and the need for changing it to change the trajectory of marine conservation. She speaks from her experiences as a researcher from a developing country accessing a field that is largely developed country focused."
ashadevos  science  srilanka  whales  bluewhales  marinebiology  conservation  decolonization  srg  research  climate  paywalls  open  openaccess  journals  accessibility  access  inclusivity  inclusion  diversity  marineconservation  indianocean  impact  training  local  mentoring  mentorships 
april 2019 by robertogreco
Gram Cafe’s fluffy Japanese souffle pancakes come to Stonestown Galleria - SFChronicle.com
[See also:
https://gramcafeusa.com/
https://sf.eater.com/2019/4/5/18295403/gram-pancakes-cafe-souffle-japanese-san-francisco-stonestown-open
https://sfist.com/2019/04/10/japanese-souffle-pancakes-currently-all-the-rage-at-stonestown-mall/
https://www.yelp.com/biz/gram-cafe-and-pancakes-san-francisco-3 ]

"Jiggling stacks of Japanese pancakes are about to flood Instagram feeds.

Popular Japanese chain Gram Cafe & Pancakes will open its first U.S. outpost in San Francisco’s Stonestown Galleria on Friday.

Located on the ground floor of the mall near Nordstrom, the all-day cafe occupies a hefty, 2,700-square-foot space, outfitted with a fake tree and a giant stack of plush pancakes primed for selfies.

Will there be lines? You bet.

The first Gram Cafe opened in Osaka in 2014. Now, there are more than 60 across Japan, Thailand and Hong Kong, with locations planned for Singapore, Indonesia and Australia.

San Francisco resident Dorothy Wong, a former pastry chef, owns the Gram franchise in California, licensing the name from the Japanese company. San Francisco has a proven affinity for Japanese restaurant chains like Ippudo and Marugame Udon, which is part of what made it seem like a promising candidate for Gram’s first American location.

On a recent trip to Japan, she tasted the souffle pancakes from Gram and decided it was the perfect thing to bring back to the Bay Area.

“Everything from Japan is detail and quality,” she said.

At Stonestown, diners will need to line up for tickets to access those coveted souffle pancakes ($16 for three). Only 30 orders will be available at three times per day: 11 a.m., 3 p.m. and 6 p.m.

“It’s not a gimmick,” Wong said. “It’s not like we want people to stand in line. It has to be precise, delicate, labor intensive.”

These souffle pancakes are made to order, and Wong estimates they take about 30 minutes to prepare. The process takes over almost the entire kitchen: Chefs pipe the stiff, egg white-rich batter into tall paper molds on the griddle, then cover each with a dome-shaped lid to create steam.

Gram chef Teruyuki Yasumura flew in from Japan to train the staff, demonstrating how to carefully pipe, flip and cover to ensure an evenly cooked, unusually fluffy and extra tall pancake. He places three on top of one another just so, ensuring an eye-catching jiggle without any toppling over.

The pancakes are finished with a dusting of powdered sugar, a sphere of butter and dollop of whipped cream. Then, servers will rush them over to guests before they start to slowly cool and collapse.

Gram sparked a souffle pancake craze in Japan, and the trend has recently begun to hit the U.S. In San Francisco, Sugarhill Kitchen and Derm Restaurant are already serving them, but Wong is confident Gram will stand apart.

“This is the original,” she said."
sanfrancisco  food  togo  srg  2019  pancakes  japanese 
april 2019 by robertogreco
is everything an MLM
"When I tweeted out the piece, a fellow academic responded: “This sounds….familiar: ‘CorePower churns out thousands more “certified” teachers than the company offers to employ.’”

She’s referring to the overproduction of PhDs: too many people coming through grad school, and too few sustainable academic jobs. And as anyone in any field understands, when there’s way more qualified applicants than jobs, the existing jobs can demand more of applicants (more qualifications, less money) while applicants lower their own expectations (for compensation, for benefits, for job security, for course load and service, for location).

So why don’t academic departments just decrease the number of PhD students they accept? Because those students have become an integral cog in the contemporary university. A recent report by the National Research Council on"Addressing the Nation's Changing Needs for Biomedical and Behavioral Scientists" found that the number of new PhDs awarded every year “is well "is well above that needed to keep pace with growth in the U.S. economy and to replace those leaving the workforce as a result of retirement and death." The report suggests that there should be no increase in the number of PhDs, but does not call for a decrease: “to change suddenly the numbers of people could be very disruptive to the research that’s going on at the present time.”

Put differently, those PhD students are providing (cheap!) labor in labs; to decrease the flow of incoming students would necessitate a dramatic rethinking of the funding/viability of various labs. The Humanities don’t have labs, but they do have massive numbers of undergraduate courses that need teaching. In English programs, it’s some version of “comp,” or composition; in foreign language programs, it’s intro language classes; in communications, it’s public speaking. Many of these courses are mandated “core” in some capacity, ensuring an unwavering stream of students, and an unwavering demand for (again, very cheap) graduate student labor to serve them. To decrease the number of graduate students, again, would be to decrease the supply of cheap labor. To rectify the loss, you’d either have to hire adjuncts or more professors (both more expensive than graduate students) or decrease the number of admitted students (and a loss, to the university, of an income stream).

Some schools start PhD programs — even though they know that their institution is not prestigious enough to place its graduates in “good” jobs, unless they are truly stellar — as a sort of labor generator: lure students with the promise of tuition remission, and you’ve got at least four years of their labor. Some MA programs also provide tuition remission in exchange for TA’ing; others are simply “money makers,” with no opportunity to TA, just the opportunity for 10-40 students pay full tuition, even if the chances of moving on to a PhD program (or full-time employment in their field) is small.

We talk a lot about how “for-profit” colleges (Cappella, Phoenix, dozens of others) exploit students’ internalized belief that the only way to pull themselves and their families up through the capitalist system is a degree — no matter if they have to take out massive amounts of debt to do it, no matter if they’re steered towards degree programs (massage therapy) in which there’s little chance to find employment that will even cover your loan payment, let alone allow the student to pull themselves up the class ladder. (Of course, a degree can provide that route — but usually it can be obtained for much, much less at the local community college.)

For first generation college students with little or no inherited knowledge of how college or student loans work, for-profit colleges can be incredibly appealing. They target you; they tell you that you could have a different life, a secure life, a career, everything you’ve dreamed of, just by enrolling. (For the twentieth time, read Tressie McMillan Cottom’s Lower Ed for an in-depth account of how for profit colleges target, recruit, and exploit these populations)

But academia — specifically, higher ed — does something different. Like my yoga teacher, they affirm what so many of us wanted to believe about ourselves: that we’re good enough, smart enough, potential-filled enough, to go to grad school. Maybe it started when you wrote a paper you were particularly proud of, and your professor told you, off-handedly, “maybe you should think about grad school.” Maybe someone else in your life — the parent of a friend, someone you nannied for, your parent — told you the same. When my undergrad professor told me as much, it was like someone had unfogged the windshield of my life: oh, yes, there’s the road in front of me!

Everyone I met in grad school had some version of this story. Once the aptitude was discerned, in our minds, into something like destiny. You ask for letters of recommendation, and your professors write them. You apply to grad schools, and some accept you. Instead of thinking about should I go to grad school, it becomes which grad school should I go to? And because you’ve already made the decision, it’s difficult to divert when the road conditions become more and more difficult.

Bad funding situation? You’ll make it work. Too many MA and PhDs means you have to “professionalize” (go to many conferences, publish many peer-reviewed papers) on your own dime? You’ll make it work. Take out loans to cover that conference travel; take out loans to live over the summer because there’s no funding available; take out loans to finish your dissertation because your school ran out of it; take out loans to travel to MLA to be one of 15 people interviewing for a job you don’t want. Again: You’ll make it work. You’re already too far down the road.

Job market’s so tight that you have to move away from your partner for a year of a post doc, then another post-doc across the country, then a job in a place far from family that pays less than a high school teacher? Again, you’ll make it work. You get to do something you love, the refrain goes. All jobs are bad, someone will tell you.

To give up is shameful, but why? Where does that shame come from? We internalize the failure as our own, instead of a failure that was set up, save for a select few, from the start. Put differently, getting spit out by the contemporary academic establishment isn’t a mark of failure; it’s a sign that the system is working as intended. Those who aren’t spit out are absorbed into the pyramid — as adjuncts, as tenure track. And no matter how much they advocate for ethical treatment, no matter how much they support graduate unions, there’s only so much you can do when your university keeps admitting graduate students.

Which isn’t to say there’s nothing. I’ve always deeply admired the Communications program at the University of Wisconsin, which only accepts as many PhD students as it honestly believes it can place in jobs. That means incredible selectivity, but it also means keeping its numbers incredibly low. (I didn’t get accepted there, which maybe should have been a sign that I should’ve have kept going!) I know a number of professors who are increasingly working with graduate students, from the beginning, on how to “professionalize” towards career paths that may or may not lead outside of academia. I know tenured professors who fund graduate student travel to conferences, and who only publish in open-source journals, and who speak frankly to their undergrad students about the realities and debt and burnout incurred through the graduate school process.

There are so many good and ethical actors within the system. But it’s not enough to counter the absorbing, flattering, hope-igniting energy of contemporary academia, which subsists on the infinite stream of students so eager for someone to tell them that the thing they love to think about it, the thing that feels nourishing and explosive and electric, they can have that thing all the time. That’s how I used to talk about my path to grad school: I wanted a way to think about the things I was thinking about for the rest of my life. All I needed was that one teacher to tell me I could. What I didn’t realize is that there were, and are, so many paths, professional and otherwise, to think about those things for the rest of my life.

To suggest as much, though, feels subversive — or at least un-American in some weird way. Of course you should pursue your dream! But what if “my dream” was actually just a fear of other options + an addiction to compliments + a few well-written undergraduate papers?

When I first suggested that yoga teacher training was an MLM, someone rightly responded: “it feels like everything today is an MLM.” That’s what happens when an industry is fully enveloped by capitalism: When a hedge fund buys a yoga company — or when universities are figured as money-making businesses, with actual consultants hired to lead them. You can blame massive constructive initiatives intended to lure students, but the real problem is the one no one wants to talk about: the massive divestment of state funds, aka tax dollars, across the board. Over the last thirty years, our elected officials have decided that higher education isn’t a societal investment. It’s a capitalist business that must sustain itself. It doesn’t matter how much the head of a graduate department wants to increase graduate pay when the budget has been squeezed so tightly and tuition has already exponentially risen to counter it. There’s no there, there.

The fault with thinking of academia as a pyramid scheme is that there’s no one at the top — just the increasingly ambivalent structure, the ever-reproducing base. You could say administration profits, or football coaches profit. But it increasingly feels like a system in which no one wins: not the students, not their … [more]
capitalism  academia  annehelenpetersen  labor  work  markets  highered  pyramidschemes  ponzischemes  yoga  mlms  multi-levelmarketingschemes  exploitation  colleges  universities  srg  gradschool 
april 2019 by robertogreco
Push Me Pull You
"A videogame about friendship and wrestling.

Available now for PlayStation 4,
Windows, Mac and Linux.'

Developed by House House,
with original music by Dan Golding."



"Push Me Pull You is a sports game for 2–4 players.

Joined at the waist, you and your partner share a single worm-like body as you wrestle your opponent for control of the ball.

It’s a bit like a big hug, or playing soccer with your small intestines.

With every action affecting both you and your partner (and mandatory shouting) PMPY combines the best parts of co-op multiplayer with the worst parts of your last breakup."

[via: https://usesthis.com/interviews/nico.disseldorp/ ]
ps4  windows  mac  osx  lunix  game  gaming  videogames  srg  edg  househouse 
april 2019 by robertogreco
Generation Z: Who They Are, in Their Own Words - The New York Times
[See also, the interactive feature:

"What is it like to be part of the group that has been called the most diverse generation in U.S. history? We asked members of Generation Z to tell us what makes them different from their friends, and to describe their identity. Here's what they had to say."

https://www.nytimes.com/interactive/2019/us/generation-z.html ]

"They’re the most diverse generation in American history, and they’re celebrating their untraditional views on gender and identity.

Melissa Auh Krukar is the daughter of a South Korean immigrant father and a Hispanic mother, but she refuses to check “Hispanic” or “Asian” on government forms.

“I try to mark ‘unspecified’ or ‘other’ as a form of resistance,” said Melissa, 23, a preschool teacher in Albuquerque. “I don’t want to be in a box.”

Erik Franze, 20, is a white man, but rather than leave it at that, he includes his preferred pronouns, “he/him/his,” on his email signature to respectfully acknowledge the different gender identities of his peers.

And Shanaya Stephenson, 23, is the daughter of immigrants from Jamaica and Guyana, but she intentionally describes herself as a “pansexual black womxn.”

“I don’t see womanhood as a foil to maleness,” she said.

All three are members of what demographers are calling Generation Z: the postmillennial group of Americans for whom words like “intersectionality” feel as natural as applying filters to photos on Instagram.

Born after 1995, they’re the most diverse generation ever, according to United States census data. One in four is Hispanic, and 6 percent are Asian, according to studies led by the Pew Research Center. Fourteen percent are African-American.

And that racial and ethnic diversity is expected to increase over time, with the United States becoming majority nonwhite in less than a decade, according to Census Bureau projections.

Along with that historic diversity, members of the generation also possess untraditional views about identity.

The New York Times asked members of Generation Z to describe, in their own words, their gender and race as well as what made them different from their friends. Thousands replied with answers similar to those of Melissa, Erik and Shanaya.

“It’s a generational thing,” said Melissa, the preschool teacher. “We have the tools and language to understand identity in ways our parents never really thought about.”

More than 68 million Americans belong to Generation Z, according to 2017 survey data from the Census Bureau, a share larger than the millennials’ and second only to that of the baby boomers. Taking the pulse of any generation is complicated, but especially one of this size.

Generation Z came of age just as the Black Lives Matter movement was cresting, and they are far more comfortable with shifting views of identity than older generations have been.

More than one-third of Generation Z said they knew someone who preferred to be addressed using gender-neutral pronouns, a recent study by the Pew Research Center found, compared with 12 percent of baby boomers.

“Identity is something that can change, like politics,” said Elias Tzoc-Pacheco, 17, a high school senior in Ohio who was born in Guatemala. “That’s a belief shared by a lot of my generation.”

Last summer, Elias began identifying as bisexual. He told his family and friends, but he does not like using the term “come out” to describe the experience, because he and his friends use myriad sexual identities to describe themselves already, he said.

Elias said he defies other expectations as well. He goes to church every day, leans conservative on the issue of abortion and supports unions, he said. He has campaigned for both Democrats and Republicans.

His bipartisan political activism, he said, was a natural outcome of growing up in a world where identity can be as varied as a musical playlist.

This is also the generation for whom tech devices, apps and social media have been ubiquitous throughout their lives. A Pew study last year found that nearly half of all Americans aged 13 to 17 said they were online “almost constantly,” and more than 90 percent used social media.

Wyatt Hale, a high school junior in Bremerton, Wash., has few friends “in real life,” he said, but plenty around the world — Virginia, Norway, Italy — whom he frequently texts and talks to online.

Their friendships started out on YouTube. “I could tell you everything about them,” he said. “But not what they look like in day-to-day life.”"

["as the boomers and millennials fight to the death, gen x and gen z will snuggle up to talk top emotional feelings and best life practices and I am here for it!!"
https://twitter.com/Choire/status/1111248118694187009 ]
genz  generationz  edg  srg  2019  nytimes  interactive  identity  us  diversity  photography  socialmedia  instagram  internet  online  web  change  youth  race  sexuality  gender  demographics  identities  choiresicha  generations  millennials  geny  generationy  genx  generationx  babyboomers  boomers  classideas 
march 2019 by robertogreco
LOVELY WEATHER WE'RE HAVING.
"A video game about going outside.

Out now.

"The vibrantly colored world of Lovely Weather We're Having doesn't take you back to a specific time necessarily, but to a mind set, when the world seemed bigger and brighter and more mystifying."
-Jess Joho, Kill Screen

"Lovely Weather is a clever little mood stimulator on the contemplative end of the scale, a kind of dynamic Zen box. You open it and poke around a little and maybe close it, thinking “Is that all?”
And then you come back, and the weather’s different, and the time of day’s just so, and it takes your breath away."
-Matt Peckham, WIRED

"Watched the trailer and I have no idea what the game is about."
-Someone on reddit "

[See also:
https://glander.co/Lovely-Weather-We-re-Having
https://vimeo.com/136570202
https://www.youtube.com/watch?v=yXGVxnEVJiE
https://glander.itch.io/lovely-weather-were-having ]
gaming  games  videogames  weather  srg  edg  toplay  location 
march 2019 by robertogreco
Social_Animals — Official Movie Website
[See also:
https://www.youtube.com/watch?v=s0X-XEcmmFc
https://www.instagram.com/social_animals/ ]

[via: https://twitter.com/mattthomas/status/1105495955988795392 ]

"A daredevil photographer, an aspiring swimsuit model, and a midwest girl next door are all looking for the same things from their Instagram account–a little love, acceptance and, of course, fame. And they’ll do just about anything to get it. With an observational eye Social Animals peeks into the digital and real worlds of today’s image-focused teenager, where followers, likes and comments mark success and self worth."

[See also:
https://variety.com/2018/film/news/instagram-star-documentary-social-animals-gravitas-ventures-1203078409/
https://www.theverge.com/2018/3/12/17105364/social-animals-documentary-teens-instagram-interview-sxsw-2018
https://www.hollywoodreporter.com/review/social-animals-1091000
https://theplaylist.net/social-animals-review-20180309/ ]
film  social  media  instagram  youth  teens  towatch  2018  2019  via:mattthomas  documentary  internet  srg  edg 
march 2019 by robertogreco
Middle-Class Families Increasingly Look to Community Colleges - The New York Times
"With college prices in the hundreds of thousands of dollars, more middle-class families are looking for ways to spend less for quality education."
communitycolleges  education  highereducation  srg  edg  2018 
march 2019 by robertogreco
Why the Spanish Dialogue in 'Spider-Verse' Doesn't Have Subtitles
"While watching the new animated feature Spider-Man: Into the Spider-Verse – featuring Miles Morales’ big screen debut as the arachnid superhero – it’s reassuring to notice the subtle, yet transcendent details through which the creators ensured both parts of his cultural identity are present.

Miles (voiced by Shameik Moore), an Afro-Latino teen who lives in Brooklyn and first appeared in Marvel’s comics back in 2011, is the son of a Puerto Rican mother and an African-American father. The protagonist’s significance – when it comes to representation – cannot be overstated, making the fact that he and his mother (Rio Morales who’s voiced by Nuyorican actress Luna Lauren Velez) speak Spanish throughout the action-packed narrative truly momentous.

Although brief, the Spanish phrases and words we hear connote the genuine colloquialisms that arise in bilingual homes as opposed to the artificiality that sometimes peppers US-produced movies and feels like the result of lines being fed through Google Translate. It might come as a surprise for some that Phil Lord, known for writing and directing The Lego Movie and 21 Jump Street with his close collaborator Christopher Miller, was not only one of the main scribes and a producer on Spider-Verse, but also the person in charge of the Spanish-language dialogue.

“I grew up in a bilingual household in the bilingual city of Miami where you hear Spanish all over the place, and it’s not particularly remarkable,” he told Remezcla at the film’s premiere in Los Angeles. Lord’s mother is from Cuba and his father is from the States. As part of a Cuban-American family, the filmmaker empathized with Miles’ duality: “I certainly understand what it’s like to feel like you’re half one thing and half something else,” he noted.

[image]

Despite the massive success of Pixar’s Coco, including Spanish-language dialogue in a major studio’s animated release is still rare – doing so without adding subtitles, even for some of the longer lines, is outright daring. “It was important for us to hear Spanish and not necessarily have it subtitled,” said Lord. “It’s just part of the fabric of Miles’ community and family life.”

For Luna Lauren Velez, whose character speaks mostly in Spanish to Miles, Lord and the directors’ decision to not translate her text in any way helped validate the Latino experience on screen. “That was really bold, because if you use subtitles all of a sudden we are outside, and we are not part of this world anymore. It was brilliant that they just allowed for it to exist,” she told Remezcla. Her role as Rio Morales also benefited from the production’s adherence to specificity in the source material, she is not portrayed as just generically Latina but as a Puerto Rican woman from Brooklyn.

With the help of a dialect coach, Velez and Lord were also partially responsible for getting Shameik Moore (who has roots in Jamaica) to learn the handful of Spanish-language expressions Miles uses during the opening sequence were he walks around his neighborhood. “[Luna] has been getting on me! I need to go to Puerto Rico, and really learn Spanish for real,” Moore candidly told Remezcla on the red carpet.

Aside from Rio and Miles, the only other Spanish-speaking character is a villain named Scorpion. The insect-like bad guy who speaks only in Spanish is voiced by famed Mexican performer Joaquín Cosio. “He is an actor from Mexico City who was using slang that we had to look up because we didn’t understand it! I had never heard some of the words he used,” explained Lord.

[video: "Spider-Man: Into the Spider-Verse - "Gotta Go" Clip"
https://www.youtube.com/watch?v=9Q9foLtQidk ]

For Lord, having different Spanish accents represented is one of the parts of Into the Spider-Verse he’s the most proud of. He wanted to make sure Miles and Rio didn’t sound alike to indicate how language changes through different generations. Being himself the child of a Cuban immigrant, the parallels were very direct. “Miles is second-generation, so he speaks different than his mother.”

Velez, who like Miles is born in New York, identifies with what it’s like to communicate in both tongues. “Growing my parents spoke to us in Spanish and we responded in English. Now this happens with my nieces and nephews,” she said. “You want to make sure kids remember their culture and where they come from.” In playing Rio, she thought of her mother who instilled in her not only the language but appreciation for her Latinidad.

Clearly, casting Velez was essential to upholding the diversity and authenticity embedded into Miles Morales’ heroic adventure since not doing so would have been a disservice to an iteration of an iconic figure that is so meaningful for many. “If Spider-Man’s Puerto Rican mom had been played by somebody who isn’t Latino I’d have a problem with that,” Velez stated emphatically."
language  translation  spanish  español  bilingualism  bilingual  srg  edg  glvo  carlosaguilar  2018  spider-verse  spiderman  miami  losangeles  nyc  coco  subtitles  specificity  puertorico  cuba  immigration  via:tealtan  accents  change  adaptation  latinidad 
february 2019 by robertogreco
An Essay by Miho Nonaka | Kenyon Review Online
[So good. There's really no good way to quote this one, so here are just a few sections.]

"Heavenly Worm

Mrs. Itō, our fourth-grade teacher, drew a new kanji character on the board: 蚕. “Worm from heaven,” she announced, “as you can see.” Heaven splits open like a curtain (天) and inside it dwells the worm (虫). For each student, she took out five worms from her basket and put them in a small paper box to take home. Having just hatched from their eggs, these worms were still covered in little black hairs. That’s why at this stage they are called kego (hairy baby), Mrs. Itō told us. To feed these dark babies, julienne your mulberry leaves first."



"Platinum Boy, 2006

After decades of research, Japanese silkworm breeders discovered a reliable method of hatching exclusively male silkworms. Female silkworms eat more, sleep more, take up more space, and are measurably less efficient in transforming mulberry leaves into silk. The verdict was clear: female silkworms are inferior for silk production.

Silk spinners and kimono weavers are unanimous in their praise of male silk: their thread is consistently finer, sturdier, glossier, whiter, and their cocoons are easier to harvest when boiled.

The birth site of Platinum Boy is literally black and white. When you look at a piece of paper where silkworm eggs are laid, white eggs are the empty shells from which male larvae have already hatched. They will thrive on the diet of tender mulberry shoot which, combined with their spit, will eventually turn into raw silk, translucent like frosted glass. The dark eggs contain female larvae that will never hatch and only keep darkening."



"Ten Thousand Leaves I

Compiled in the mideighth century, Man’yōshū (Collection of Ten Thousand Leaves) is the oldest Japanese anthology: more than forty-five hundred poems in twenty books. In the sweltering heat of the attic, I wasn’t looking for any particular motif when I happened on poem No. 2495, composed by Kakinomoto no Hitomaro, a low rank courtier and one of the “Saints of Japanese Poetry”:
like my mother’s
silkworms confined
inside cocoons,
how can I see my love
who lives secluded at home?

Poem No. 2991 is almost the same poem by another poet, simply tagged “unknown”:
like my mother’s
silkworms confined
inside cocoons,
sadness clouds my heart
when I cannot see her

The motif of a silk cocoon as the inaccessible, lyrical interior goes back to the dawn of Japanese poetics. The cocoon encases the image of the beloved, the poet’s longing that keeps building inside, and in my poem it holds the mother as a mythical seamstress, stitching blue in each wrist of her unborn daughter."



"職人 I

I used to blame my grandmother on my father’s side, who was described to me as fierce, frantic, funny, a destructive visionary and unsuccessful business entrepreneur during the critical times of the Second World War. When I felt defeated by the radical pull of my own emotion, I would attach them to the face of the woman I had never met in person, only in a fading picture where she stands next to my young father without glasses, still a student with surprisingly gentle eyes.

My father recently told me during one of our late-night international calls from Tokyo: “Your grandfathers were both shokunin (craftsman), remember? It’s in your DNA, too.” His father had come from a large family of silk farmers. After he left home, adopting the newly introduced Singer sewing machines, he began manufacturing Japanese cloven-toed socks, the traditional kind that used to be hand-sewn, and during the war, he took the assignment to sew parachutes for the Imperial Japanese Army Air Force. While he worked under dimmed light, my young father put up his primitive drawing of warplanes on the wall, covered in fine grains of sand."



"Small Things

They say (I love the convenience, but who are “they”?) that attention to detail is a characteristic of the Japanese. I am drawn to small things: tadpoles, silica beads, star sands in a vial, a notebook the size of a thumbnail, fish scales, a nativity scene inside half a walnut shell. I am terribly myopic like my father, and I like things that are near. Large things loom over and terrify: airports, Costco, churches in Texas, the Tokyo Skytree, Mount Rushmore (those granite faces I once believed had surfaced in response to the historic atomic bombing), and that elusive word “global.”"



"Komako

It didn’t occur to me until I tried translating a few passages from Snow Country that the young geisha’s name Komako (駒子) means Pony Child. What inspired the author Kawabata to portray his heroine as a woman of equine grace? We don’t know her family name. On the other hand, we don’t know the first name of Shimamura, who is referred to only by his last name.

I imagine if your family name is a gate to the house, your first name must be its interior. In the days when the first book of Man’yōshū was composed, asking a maiden’s first name was synonymous with proposing to her. Knowing it meant possessing the person.

Komako’s body is translucent like a silkworm, and an unearthly room encloses her fruitless passion like a white cocoon. While writing Snow Country, Kawabata says he distanced himself from Shimamura, who serves merely as a foil to Komako. “As an author, I entered deep inside the character of Komako, but casually turned my back to Shimamura,” he writes in the afterward. “Especially in terms of emotion—Komako’s sadness is nothing other than my own sadness. . . .” And so it is; his heart has become subsumed into her heart."



"Body

I find it impossible to talk about the body (mine and everyone else’s) without sounding embarrassed or oddly distant. I don’t mean to self-deprecate, but it has been almost too fashionable, too charged a topic for me to feel safe around. (A cowardly thing to say—the truth is, no one is safe.)

I won’t pretend my body is a plain blockhouse, or a slab of flesh aching with desire or lack thereof. Who could have taught me to stay at home in my own body all the while I traveled from one country to another, turning from the spontaneous, if careless, music of my mother tongue to the cautious economy of English, reaching out, in the hope of actually reaching and being reached?

For the subjects most critical to me, I find no teachers. Perhaps there is not enough demand? I believe I am badly behind everyone and that I missed an opportunity to ask questions long ago. People my age in this country sound fluent in the body, discussing it with just the right amount of sarcasm and laughter without revealing much, like they have been on intimate terms with it since they learned to speak. I suppose I should have listened to the body harder, without ulterior motives."
mihononaka  silk  essays  canon  howwewrite  2017  silkworms  multispecies  japan  japanese  language  gender  via:ayjay  poetry  writing  fabric  textiles  srg  glvo  insects  history  cocoons  craft  translation  languages  childhood  change  materials  process  form  details  weaving  texture  morethanhuman  shinto  bodies  body  small  slow 
february 2019 by robertogreco
Want to Learn How the World Sees Your College? Look on YouTube - The Chronicle of Higher Education
"Informal platforms like YouTube or Reddit help students demystify the application and admissions process, said Kevin Martin, a former admissions counselor at the University of Texas at Austin who runs an admissions-consulting business.

Videos uploaded by college students offer an authentic lens into student life and campus culture, which are helpful for high schoolers looking to visualize themselves on a specific campus.

"I'm honestly surprised at the amount of not only students but also parents who would go to YouTube to find information," said Martin, who also runs a YouTube channel titled "UT Admissions Guy." "Students who would often fall through the cracks or don't have access to traditional counseling resources are turning to social media for information."

Keri Nguyen, a Florida high-school senior, even applied to a few colleges she felt were a reach for her academic record because of the YouTube videos she watched."YouTubers, like Rowan Born [from the University of Southern California], made me feel better about the college-application process, because as someone who doesn't have the best test scores or grades compared to some of my peers, I felt very discouraged," Nguyen said."
colleges  universities  trends  admissions  youtube  highered  highereducation  education  srg 
january 2019 by robertogreco
Sayaka Murata - Wikipedia
[See also Convenience Store Woman:
https://groveatlantic.com/book/convenience-store-woman/
https://www.newyorker.com/books/page-turner/sayaka-murata-eerie-convenience-store-woman-is-a-love-story-between-a-misfit-and-a-store
https://www.nytimes.com/2018/07/23/books/review-convenience-store-woman-sayaka-murata.html ]

"Sayaka Murata (村田沙耶香 Murata Sayaka) is a Japanese writer. She has won the Gunzo Prize for New Writers, the Mishima Yukio Prize, the Noma Literary New Face Prize, and the Akutagawa Prize.

Biography
Murata was born in Inzai, Chiba Prefecture, Japan in 1979. As a child she often read science fiction and mystery novels borrowed from her brother and mother, and her mother bought her a word processor after she attempted to write a novel by hand in the fourth grade of elementary school.[1] After Murata completed middle school in Inzai, her family moved to Tokyo, where she graduated from Kashiwa High School (attached to Nishogakusha University) and attended Tamagawa University.[2]

Kashiwa High School
Her first novel, Jyunyū (Breastfeeding), won the 2003 Gunzo Prize for New Writers.[3] In 2013 she won the Mishima Yukio Prize for Shiro-iro no machi no, sono hone no taion no (Of Bones, Of Body Heat, of Whitening City).[4] In 2016 her 10th novel, Konbini ningen (Convenience Store People), won the prestigious Akutagawa Prize,[5] and she was named one of Vogue Japan's Women of the Year.[6] Konbini ningen has sold over 600,000 copies in Japan, and in 2018 it became her first book to be translated into English, under the title Convenience Store Woman.[7]

Throughout her writing career Murata has worked part-time as a convenience store clerk in Tokyo.[8]

Writing style
Murata's writing explores the different consequences of nonconformity in society for men and women, particularly with regard to gender roles, parenthood, and sex.[9] Many of the themes and character backstories in her writing come from her daily observations as a part-time convenience store worker.[8] Societal acceptance of sexlessness in various forms, including asexuality, involuntary celibacy, and voluntary celibacy, especially within marriage, recurs as a theme in several of her works, such as the novels Shōmetsu sekai (Dwindling World) and Konbini ningen (Convenience Store Person), and the short story "A Clean Marriage."[10][11] Murata is also known for her frank depictions of adolescent sexuality in work such as Gin iro no uta (Silver Song)[12] and Shiro-iro no machi no, sono hone no taion no (Of Bones, of Body Heat, of Whitening City).[13]"
srg  japan  japanese  sayakamurata  howwewrite  conveniencestores  tokyo  asexuality  celibacy  marriage  gender  sexuality  nonconformity  parenthood  genderroles 
january 2019 by robertogreco
Tips for Beginning Translators - TRANSLATIONiSTA
"It’s not as if every young and/or aspiring translator is the same as every other one, but I do get a lot of notes asking basically the same thing: If I’m interested in breaking into the field of literary translation, how do I start? How do I get published? Here’s the sort of advice I tend to give out, starting with the question: You do understand that being a literary translator is probably not a way to make a living without a day job, right? If that’s all right with you, keep reading.

For starters, you should be submitting your work to literary magazines. These don’t have to be magazines that specialize in translation; most literary mags are happy to consider translated work, especially if you let them know in your cover letter that you’ve already looked into the rights situation. As with any other work you’d submit to a magazine, you should take care to match your submission to the magazine’s aesthetic preferences and literary tastes, which you can determine by reading the magazine. You shouldn’t be in the business of trying to get published in magazines you don’t actually read. So your first order of business is to head over to your local bookstore or library and check out the rack of literary magazines; get to know which ones specialize in which sorts of work (plot-driven realistic stories? formally experimental work? the fantastic?), and then you’ll be well prepared to place your work sensibly; mention in your cover letter what made you think the particular translation you’re submitting would be a good match for the journal in question. Well, you might say, that’s a lot of work! Indeed, it is. Getting your translations published in magazines will help you confirm both to yourself and to other potential publishers (of books, say) that you are capable of producing professional-level, publishable work. As the list of your publications grows, so will your desirability to publishers. Note that there are also a number of journals (online and paper) actively seeking translated work; this list comes to you courtesy of the PEN Translation Committee. Oh, and speaking of literary magazines, you should also make a point of reading journals published in the countries where the language you translate from is spoken; it’s a great way to discover newer authors who haven’t been translated yet.

The second thing you should do is network with other emerging translators. Go to readings in your town and make a point of meeting other translators there. Join ELTNA (the Emerging Literary Translators Network in America). Check out the yearly conference of the American Literary Translators Association, which offers a lot of opportunities for networking (as well as competitive travel fellowships to attend the conference). If you can find peers interested in getting together to swap and critique work, that’s a great way to hone your skills if you’re not in a position to do coursework somewhere and are still learning.

The third thing you should do is get on the mailing list of any cultural institute relevant to the language you translate. Many countries have these – they promote a country’s language and/or culture internationally, and many of them sponsor readings, workshops, contests, and other sorts of events.

The fourth thing you should do is enter any competition relevant to your language (which you’ve found out about through the relevant cultural institute) and apply for grants, especially the PEN/Heim Translation Fund grants, which are open to emerging translators and are a great way for someone new on the scene to come to the attention of potential publishers. Since you apply with a specific book project, it’s a great grant to try for if you already have your heart set on translating a particular work.

When you’ve gotten your first magazine publications under your belt, then it’s time to shoot for the big league: book publishers. Look for publishers that print the sort of work you’re most interested in, and send around a few letters of introduction, including samples of your work and a list of your publications. Often publishers need translators to prepare sample translations from books they’re thinking about acquiring, and often the professional translators who regularly work for these publishing houses don’t have time for these samples, so this is your easiest way in. It’s also a good idea at this point to introduce yourself to the program staff at any relevant cultural institution; they too sometimes need sample translations and synopses for books they’re promoting.

Finally, here’s a paragraph for brand-new translators who’ve discovered a fantastic unknown-in-English author they want to pitch to publishers: Sure, you can do that, but first, imagine the situation from the publisher’s point of view. To publish (acquire rights, edit, copyedit, print, distribute, promote) a book involves a seriously substantial investment of money and time on a publisher’s part. Even if you’ve produced a strong short sample from the book (which you might have gotten help with, for all the publisher knows) – for an editor to trust that a translator without a track record is really going to be able to produce a translation of the entire book that is of the same quality as the sample within a reasonable time frame is a leap of faith. The more previous publications you can demonstrate (including in journals), the easier you make it for a publisher to decide to take you on. And of course if you win a competition or a grant, that’s an excellent calling card right there. In preparing a pitch, think about what you yourself would want to know about a project before deciding to invest in it; among other things, that will probably involve an assessment of where the author you’re proposing fits in the context of international writing as well as in the English-language literary landscape, and also what the book in question has in common with other works published by this publishing house.

There’s no one right way and no easy way to get into the translation business, but it’s definitely quite possible to break in to the profession if that’s your goal. Did I remember to mention that it’s a really really hard way to pay your rent?

P.S. I’ve been hearing from annoyed colleagues who are professional literary translators who do make a living translating literature, so obviously it’s possible, particularly in the UK (where the Translation Association of the Society of Authors recommends minimum rates that are widely adhered to), and particularly if you live in a place with a lower cost of living than, say, New York. In the United States, surviving as a literary translator without also performing other sorts of work (or having resources from another source) is much less common, and I myself have never managed to make a living that way, even though “literary translator” has been my primary professional identity for a long time now, but that doesn’t mean it isn’t possible, of course, and it doesn’t mean a translator shouldn’t negotiate for a living wage with publishers. Two years ago I posted a discussion of translation rates in the U.S. that covers a lot of bases – check it out!

I also recommend you consult the ALTA Guides published by the American Literary Translators Association."

[See also: http://literarytranslators.org/resources/alta-guides ]
publishing  tips  translation  susanbernofsky  2017  literature  srg 
january 2019 by robertogreco
Tarsila do Amaral: Translating Modernism in Brazil - Words Without Borders
It seems the role of the translator is not so different from that of a curator. Just as a translator will often introduce a new text, a curator of an exhibition might present something entirely new, which is certainly the case with the Museum of Modern Art’s exhibition of work by Tarsila do Amaral. Entitled “Tarsila do Amaral: Inventing Modern Art in Brazil,” it is the first US show devoted exclusively to the Brazilian artist.

A curator, like a translator, acts not only as a mediator but also as an interpreter—another curator, another translator, would tell a slightly different story. When I asked MoMA curator Stephanie D’Alessandro what narrative she and her colleague Luis Pérez-Oramas set out to tell, she admitted it was “a hard story to write.” Their ultimate goal was to engage audiences who were both familiar and completely unfamiliar with Tarsila; to do justice to her legacy while also making her story accessible.
tarsiladoamaral  translation  brazil  brasil  modernism  art  curation  2018  elisaoukalmino  srg 
january 2019 by robertogreco
Between Two Languages: An Interview with Yoko Tawada
"Among the finest of Tawada’s works are short stories about adapting to new cultures, both physically and linguistically. The daughter of a nonfiction translator and academic bookseller, Tawada learned to read in over five languages; she speaks English, but doesn’t write it. “I feel in between two languages, and that’s big enough,” she told me. Her stories often turn on feeling outside the culture, as an immigrant, as a citizen witnessing great national change, or even as a tourist."



"I look like a person who cannot think when I wake up, because I’m still quite between the sleep and the dream and the waking, and that’s the best time for business."



"Being multilingual is tricky. I feel more as though I am between two languages, and that feels like enough. To study that in-between space has given me so much poetry. I don’t feel like one of those international people who juggles many tongues."
yokotawada  language  languages  bilingualism  2018  interviews  japan  japanese  howwewrite  dreams  sleep  liminality  betweenness  littoralzone  liminalspaces  multilingualism  dualism  srg 
january 2019 by robertogreco
Translation Blogs We Think You Should Be Reading | Center for the Art of Translation | Two Lines Press
"Here are some of our favorite translation blogs (listed alphabetically). And we need your help! Which ones are we missing?

• Arablit was founded by M. Lynx Qualey and covers Arabic literature in (and not yet in) translation. There you can find roundups of forthcoming books translated from Arabic, book reviews, resources for teachers of Arabic literature in translation, and so much more. Plus, it’s the home of the ArabLit Story Prize.
https://arablit.org/

• Asymptote’s blog has a regular circulation of reviews, essays, and translations, as well as a weekly roundup of world literature news.
https://www.asymptotejournal.com/blog/
https://arablit.org/category/teaching-with-arabic-literature-in-translation/
https://arablit.org/2018/02/11/sunday-submissions-announcing-the-2018-arablit-story-prize/

• Biblibio is the blog of Meytal Radzinski, the founder of the Women in Translation movement and WITMonth. As Radzinski herself describes: “Biblibio is not a review blog. What does that mean? It means that the humble figure behind the veil sees the purpose of this blog as discussing a life in books in general, not only through reviews (though obviously somewhat). Bibli – book. Bio – life. This is a life in letters.”
https://biblibio.blogspot.com/
https://twitter.com/Read_WIT

• The Complete Review and its accompanying blog, The Literary Saloon, are run by M. A. Orthofer. Go here for reviews of books both popular and obscure, as well as international literary news that is rarely covered elsewhere. A great resource!
http://www.complete-review.com/main/main.html
http://www.complete-review.com/saloon/index.htm

• Conversational Reading is the blog of our own Publicity Director and Senior Editor, Veronica Scott Esposito. While not exclusively translation, the blog is largely translation-focused, including lists of interesting new and forthcoming books, Q&As with translators and authors, essays, and other related news in the field.
http://conversationalreading.com/
http://conversationalreading.com/category/interviews/

• Lizok’s Bookshelf is the blog of award-winning Russian translator Lisa Hayden. This is the go-to place for those interested in Russian literature. Lisa will let you know what is going on in the world of Russian literary prizes, tell you about interesting books coming out in Russia, books she’s reading, and, of course, books she’s translating.
https://lizoksbooks.blogspot.com/

• Reader@Large is the blog of Tara Cheesman-Olmsted, a freelance book critic, National Book Critic Circle member, and 2018 Best Translated Book Award fiction judge. The blog began as a general book review blog, but Tara currently only reviews books by international authors and translations, with a preference for small presses!
https://readeratlarge.com/

• Three Percent is the translation blog of the University of Rochester. Chad Post delights us with in-depth blog posts on a wide range of topics within the translation field. Home to book reviews, the Best Translation Book Award, and updates on trends in the translation field (including graphs and all kinds of fancy data analysis)!
https://www.rochester.edu/College/translation/threepercent/

• Tony’s Reading List is the blog of a true international literature aficionado. Dive into the expansive book review archives (spanning back to 2009) or, if you’re feeling adventurous, dig into something a little different.
https://tonysreadinglist.wordpress.com/
https://tonysreadinglist.wordpress.com/something-a-little-different/

• Translationista is the blog of Susan Bernofsky, German-language translator extraordinaire. She’ll keep you up-to-date on the latest literary prizes, as well as other news in the field. Make sure you check out: “Getting the Rights to Translate a Work: A How-To Guide” and “Tips for Beginning Translators.”
http://translationista.com/
http://translationista.com/2017/02/getting-rights-translate-work.html
http://translationista.com/2017/08/tips-beginning-translators.html

• WWB Daily, the blog of Words Without Borders, features a monthly watchlist of books coming out that month, in-depth essays by translators, excerpts from forthcoming books in translation.
https://www.wordswithoutborders.org/dispatches/
https://www.wordswithoutborders.org/dispatches/article/tarsila-do-amaral-translating-modernism-in-brazil-elisa-wouk-almino
https://www.wordswithoutborders.org/dispatches/article/first-read-from-lion-cross-point-masatsugu-ono-angus-turvill "
blogs  translation  writing  language  languages  books  arabic  srg 
january 2019 by robertogreco
Center for the Art of Translation | Two Lines Press
"MISSION

The Center for the Art of Translation champions literary translation.

We are dedicated to finding dazzling new, overlooked, and underrepresented voices, brought into English by the best translators, and to celebrating the art of translation. Our publications, events, and educational programming enrich the library of vital literary works, nurture and promote the work of translators, build audiences for literature in translation, and honor the incredible linguistic and cultural diversity of our schools and our world.

HISTORY

The Center for the Art of Translation, a 501(c)(3) nonprofit organization based in San Francisco, was founded in 2000 by Olivia Sears, an Italian translator and editor who serves as the Center’s board president. In 1993, prior to forming the Center, Sears helped to establish the literary translation journal Two Lines: World Writing in Translation at a time when there were very few venues for translated literature in English, and those handful rarely paid much attention to the translator beyond a brief acknowledgment. Two Lines set out to challenge that trend—to make international literature more accessible to English-speaking audiences, to champion the unsung work of translators, and to create a forum for translators to discuss their craft. In this way, Two Lines serves as the Center’s cornerstone, and the journal’s spirit radiates through all of the Center’s work today.

OUR PROGRAMS

Two Lines Press is an award-winning press committed to publishing outstanding literature in translation.

With the rich publication history of Two Lines serving as its foundation, Two Lines Press specializes in exceptional new writing and overlooked classics that have not previously been translated into English. With books such as Naja Marie Aidt’s Baboon (translated by Denise Newman), which won the 2015 PEN Translation Prize, and Marie NDiaye’s Self-Portrait in Green (translated by Jordan Stump), which won the 2015 CLMP Firecracker Award, Two Lines Press seeks to publish daring and original voices in striking editions.

The biannual journal Two Lines amplifies the aims of the press by capturing the most exciting work being done today by the world’s best translators—and by forging a space to celebrate the art of translation. Within our pages you’ll find work by writers such as Yuri Herrera, Kim Hyesoon, Christos Ikonomou, Rabee Jaber, Emmanuel Moses, Anne Parian, Chika Sagawa, Enrique Vila-Matas, and Jan Wagner—in translations by Lisa Dillman, Don Mee Choi, Karen Emmerich, Kareem Abu-Zeid, Marilyn Hacker, Emma Ramadan, Sawako Nakayasu, Margaret Jull Costa, and David Keplinger, respectively. You’ll also encounter arresting insights on language, literature, and translation from the point of view of writers such as Lydia Davis, Johannes Göransson, Wayne Miller, and Jeffrey Yang.

***

The Two Voices event series hosts international writers and translators for original and provocative conversations about literature and language.

Recent events include Yoshimasu Gozo in conversation with Forrest Gander, Best Translated Book Award-Winner Yuri Herrera in conversation with Daniel Alarcón, Eka Kurniawan in conversation with Annie Tucker, Horacio Castellanos Moya in conversation Katherine Silver, and Malena Mörling in conversation with Pulitzer Prize-Winner and former Poet Laureate Robert Hass.

For our salon series we speak with superior translators, many of whom join us via Skype from far beyond the Bay Area, about their work. Recent conversations have featured Chris Andrews on César Aira, Bela Shayevich on Nobel Prize-Winner Svetlana Alexievich, Ottilie Mulzet on International Man Booker Prize-Winner László Krasznahorkai, Ann Goldstein and Michael Reynolds on the ineffable Elena Ferrante, and Valerie Miles on Enrique Vila-Matas.

Whenever possible, we offer post-event audio online.

***

Poetry Inside Out is a collaborative language arts curriculum that celebrates classroom diversity, builds literacy skills, improves critical thinking, and unlocks creativity by teaching students to translate great poetry from around the world.
As a cross-cultural literacy program, Poetry Inside Out embraces—and relies upon—cultural and linguistic differences in classrooms in schools. It is also a world literature program that treats great poets as teachers and their work as models.

Students who participate in Poetry Inside Out come to understand how close reading heightens comprehension, precise writing enhances communication, and attentive listening builds new knowledge. By practicing the art of translation, students become familiar with the building blocks of language and the full range of expression available to them as readers, writers, speakers, poets, thinkers, and world citizens. Student translations reflect profound responses to language, society, and one another’s personal experiences."
translation  sanfrancisco  poetry  literture  language  events  srg 
january 2019 by robertogreco
Valdivia, Ecuador - 2100 BC
["I made a text adventure game called "Valdivia". It's about a woman on a mission, feelings and family. You can play it here: https://helena.computer/valdivia/ "

https://www.linkedin.com/in/helenajaramillo/ ]
cyoa  helenajaramillo  textadventures  games  gaming  twine  ecuador  interactivefiction  if  srg 
january 2019 by robertogreco
Tropy
"Take control of your research photos with Tropy, a tool that shortens the path from finding archival sources to writing about them. Spend more time using your research photos, and less time searching for them."

[via: https://twitter.com/CarrieRSmith/status/1087722100293545984 ]
archives  photography  research  onlinetoolkit  tools  images  srg 
january 2019 by robertogreco
Tentacle | And Other Stories
"Plucked from her life on the streets of post-apocalyptic Santo Domingo, young maid Acilde Figueroa finds herself at the heart of a Santería prophecy: only she can travel back in time and save the ocean – and humanity – from disaster. But first she must become the man she always was – with the help of a sacred anemone. Tentacle is an electric novel with a big appetite and a brave vision, plunging headfirst into questions of climate change, technology, Yoruba ritual, queer politics, poverty, sex, colonialism and contemporary art. Bursting with punk energy and lyricism, it’s a restless, addictive trip: The Tempest meets the telenovela."

[See also:
https://lareviewofbooks.org/article/little-book-with-big-ambitions-rita-indianas-tentacle/
https://www.theguardian.com/books/2019/jan/02/tentacle-by-rita-indiana-review
http://chicago.universitypressscholarship.com/view/10.7208/chicago/9780226405636.001.0001/upso-9780226405322-chapter-007
https://1streading.wordpress.com/2018/12/18/tentacle/ ]

[The original, in Spanish:

La mucama de Omicunlé
http://www.editorialperiferica.com/?s=catalogo&l=147
https://www.zonadeobras.com/apuestas/2015/05/04/la-mucama-de-omicunle-rita-indiana-203300/
https://soundsandcolours.com/articles/dominican-republic/rita-indiana-la-mucama-de-omicunle-40561/
http://remezcla.com/culture/rita-indiana-la-mucama-de-omicunle/ ]

[More on/by Rita Indiana:
https://en.wikipedia.org/wiki/Rita_Indiana
https://www.youtube.com/watch?v=vI4Gj2w0Z0Q
https://www.pri.org/programs/radio-ambulante-unscripted/rita-indiana-taking-caribbean-music-and-literature-new-heights
https://gozamos.com/2013/12/interview-rita-indiana-hernandez/
https://www.youtube.com/results?search_query=RITA+INDIANA
https://www.youtube.com/watch?v=LBVLvIjBFko
https://granta.com/on-cardi-b/http://remezcla.com/releases/music/rita-indiana-el-castigador-video/
https://www.youtube.com/watch?v=9-J_n1H2qT4 ]
books  toread  sciencefiction  sicfi  ritaindiana  andotherstories  spanish  español  srg  fiction  domincanrepublic  colonialism  santodomingo  novels  technology 
january 2019 by robertogreco
Hafu | the mixed-race experience in Japan
"Synopsis

With an ever increasing movement of people between places in this transnational age, there is a mounting number of mixed-race people in Japan, some visible others not. “Hafu” is the unfolding journey of discovery into the intricacies of mixed-race Japanese and their multicultural experience in modern day Japan. The film follows the lives of five “hafus”–the Japanese term for people who are half-Japanese–as they explore what it means to be multiracial and multicultural in a nation that once proudly proclaimed itself as the mono-ethnic nation. For some of these hafus Japan is the only home they know, for some living in Japan is an entirely new experience, and others are caught somewhere between two different worlds.

According to the Japanese Ministry of Health, Labor and Welfare, one in forty-nine babies born in Japan today are born into families with one non-Japanese parent. This newly emerging minority in Japan is under-documented and under-explored in both literature and media. The feature-length HD documentary film, “Hafu – the mixed-race experience in Japan” seeks to open this increasingly important dialogue. The film explores race, diversity, multiculturalism, nationality, and identity within the mixed-race community of Japan. And through this exploration, it seeks to answer the following questions: What does it mean to be hafu?; What does it mean to be Japanese?; and ultimately, What does all of this mean for Japan?

Narrated by the hafus themselves, along with candid interviews and cinéma vérité footage, the viewer is guided through a myriad of hafu experiences that are influenced by upbringing, family relationships, education, and even physical appearance. As the film interweaves five unique life stories, audiences discover the depth and diversity of hafu personal identities."

[See also:

"Project Hafu
🎌A community for the rare and wonderful Japanese hafu 💖🇯🇵"
https://www.instagram.com/projecthafu/

"Hāfu2Hāfu
Worldwide 📸 project about #hāfu, or mixed 🇯🇵 identity.
Everybody has one identity related question for you.
All 📸 by @tetsuromiyazaki"
https://www.instagram.com/hafu2hafu/

Hāfu2Hāfu
https://hafu2hafu.org/

"Hāfu2Hāfu is a unique project photographing hāfu (mixed roots people with one Japanese parent) from every country in the world and sharing their most significant questions about identity, sense of belonging or growing up with two different cultures.

Every portrayed hāfu was asked:

“What is the one question you would like to ask other half Japanese?”
Hāfu2Hāfu wants to give hāfu, inside and outside of Japan a voice, bring them closer together and create more understanding for their identity issues by facilitating (online) dialogues with their peers, families, friends, classmates and colleagues.

In order to present a complete image of being hāfu, Hāfu2Hāfu will try to document portraits and questions of hāfu of different ages, genders, places of residence and of all 192 combinations of nationalities with Japanese (there are 193 sovereign countries)."

"A mission to capture the full range of half-Japanese experience — in 192 photos"
https://www.japantimes.co.jp/community/2017/10/08/issues/mission-capture-full-range-half-japanese-experience-192-photos/ ]
afu  japan  japanese  ethnicity  identity  srg  instagram  photography  mixed-race  film  documentary 
january 2019 by robertogreco
Foxhunt by anomalina
"An atmospheric, Witness-like first person puzzle game based on clues left by the enigmatic Fox... are you clever enough to meet him and escape this deathless, dimensionless, cold white desert?"

[via: https://www.theverge.com/2019/1/6/18166692/foxhunt-the-witness-itch-io-short-play ]
games  gaming  videogames  edg  srg  multispecies  morethanhuman  2019  thewitness 
january 2019 by robertogreco
The Acceptance Rate Of Elite US Colleges From 2015 To 2018, Visualized - Digg
"If you have your heart set on getting into an Ivy League school these days, then we have some bad news for you: it's definitely not going to be an easy ride.

As the number of applications for prestigious colleges has risen — thanks in part to the emergence of Common Application, a process that allows students to apply to multiple schools with ease, and the increase of international applicants — acceptance rates for the elite colleges of the US have declined quite sharply in the past few years. In fact, this year, with the exception of Yale, all Ivy League schools produced the lowest acceptance rates in their respective histories.

To get a better idea of how admission rates have declined in the most selective colleges in the US, we can look to this graph made by Hunter Blakewell of Ivy Academic Coach, which charts the changes in acceptance rates of elite colleges from 2015 to 2018. The 43 colleges included in this chart are academic institutions that had an acceptance rate of less than 20% in 2018.

As you can see, there has been a noticeable decrease in acceptance rates among the majority of elite colleges in the US. Some are more minimal decreases. For instance, Stanford, the most selective school in the US, only saw its acceptance rate drop from 5.04% in 2015 to 4.36% this year.

New York University, on the other hand, has had one of the most drastic drops in admission rates. According to Ivy Academic Coach, NYU's admission rate dropped from 32% in 2016 to merely 19% in 2018, an over-40% decrease within the span of two years.

The drop in acceptance rates among the US's elite colleges is a worrying trend. Although there are studies that show attendance at an elite college may bear little relationship with a person's long-term earnings, further research has clarified that going to an Ivy League school matters less when you're a rich, white man — but if you're a woman or a minority, attendance at an elite university still has a palpable effect on your future income."
colleges  universities  admissions  anxiety  selectivity  2018  visualization  srg  edg  highered  highereducation  ivyleague  elitism  education 
january 2019 by robertogreco
Tirana: Transforming a City by Kid-Friendly Urban Policy - CityLab
"The ambitious mayor of Tirana, Albania, is selling a wary constituency on economic transformation by putting kids at the forefront of his agenda."



"Tirana’s main children’s playground fits so neatly in the Albanian capital’s central Grand Park, it feels as if the playground’s wooded ridge has organically sprouted terracotta-colored climbing frames, swings, and crawl spaces. Children of all ages play under its tree canopy, the sound of their parents’ and grandparents’ chatter, knitting needles, and dominoes clacking from the surrounding benches.

More than simply a charming space, the playground is the spearhead of a grand plan to refashion Albania’s capital city as a more walkable, more sustainable, less car-dependent city—specifically by placing the needs of the city’s youngest citizens at its forefront. Its creation also sparked one of the most intense urban debates in Albania’s recent history, one that reveals the highly specific growing pains the country has endured since the fall of communism in 1991.

The Grand Park playground, the largest of its type in eastern Europe, was the first site chosen for a child-friendly overhaul by Tirana’s center-left mayor Erion Veliaj, who was elected in 2015. The playground became a flagship for a municipal scheme that has since seen 33 more playgrounds installed across the city, with more on the way.

This focus on both children’s needs and reclaiming public space runs like a seam through Veliaj’s attempts to refashion Tirana as a greener, denser, and less car-dependent city. When Veliaj’s administration wanted to kick-start the pedestrianization of Skanderbeg Square, Tirana’s central plaza, he staged monthly car-free days when parents were actively encouraged to bring their children to cycle. When the city recently launched a central cycle lane grid—one that easily surpasses equivalents in American cities of similar size—the municipality also created special days when cyclists as young as three years old could cycle there in convoy, supervised by adults. And when the city sought to encourage more healthy eating, it started by revising kindergarten menus to make them healthier, sending local chefs into elementary schools to provide education about produce and cooking.

Focusing on the young makes sense in a very young city—Tirana’s average age is 27 to 28. There’s more, however. As Mayor Veliaj told Citylab’s General Manager Rob Bole during a discussion at this summer’s reSITE conference in Prague, children are like “revolutionaries in the household,” capable of influencing their parents far more strongly than a politician ever could.

There might seem to be an eccentric strain to the idea of transforming a city from toddler height upwards, and using children as sleeper agents to promote sustainability, but it is in keeping with UNICEF’s efforts to position child-friendly urban development as a cornerstone of the 2030 Agenda for Sustainable Development. The Albanian capital is thus part of a growing global wave that sees urban children’s well-being as a way of unpicking a broader knot of issues.

Such an approach is particularly effective, says Sam Williams, initiator and co-author of the Arup study “Cities Alive: Designing for Urban Childhoods,” because good child-friendly development does not isolate the young, but integrates them more seamlessly into their wider communities.

“Unfortunately for them, children are a great indicator species for urban problems, because they are more vulnerable to traffic pollution, to car accidents,” Williams told CityLab. “They have less range because they have shorter legs. They don't have money or income and they can't drive.

“By designing well for children, what you're really doing is designing well for the most vulnerable in society, whether that's the elderly or disabled, or the less wealthy. It's a very equitable approach to design that can fall by the wayside if you focus is on getting 30-year-old commuters from A to B as quickly as possible.”

This is grand rhetoric to attach to a playground development plan, but these playgrounds do more than provide more community space. Following years of (not yet dispelled) mistrust of officialdom in the immediate post-communist period, the municipality is using a child-first approach to urban management as a shop window for its political message that government can indeed be trusted.

The transformation of Skanderbeg Square is emblematic of this. A huge space lined with a collection of monumental communist-era institutions and saffron-colored, Italianate buildings from the interwar period, the square was almost entirely car-free under communism—because private cars themselves were so rare during the period. In the post-communist era as congestion gradually increased, Skanderbeg Square’s fate became a battleground between rival city administrations: One mayor’s total pedestrianization plan from 2010 was cancelled by his successor, who had the space remodelled as an island surrounded by a carousel of traffic—an arrangement that, as of December 2018, is still visible on Google Street View.

When elected in 2015, Mayor Veliaj revived his predecessor’s total pedestrianization plan. This time, in order to help win the public relations battle, his administration appealed to the public by emphasizing the space’s role as a facility for young people, and by using occasional car-free days as an advertising campaign to turn the whole area into a child-friendly strolling area and play space.

Veliaj describes the reaction: “Kids came with their bikes and rollerblades and were very happy. Their parents, however, hated me. They said, ‘He was such a nice guy during the election campaign, and now he wants to take the cars away!’ But with kids, it’s very different. They don’t have dogma or ideology. The kids loved it and said, ‘Mr. Mayor can we do it one more time?’ Then, when they went home, they’d convert their parents.”

These car-free days became monthly fixtures until residents came to expect and rely on them, a reaction that helped smooth Skanderbeg Square’s transition to its now remodelled, permanently car-free state. The effect of the makeover is subtle, but dramatic. The square’s paved heart now slopes gently upwards to a sort of flattened hump, transforming the square into a stage that places pedestrians at its center. As the sun cools, children kick footballs around on a sunken lawn that, so far, seems to be bearing up well under the pressure of their feet. And it’s doubly popular because it doesn’t cost anything, says a young woman called Anita, (who preferred not to give her last name), who I find hanging out with teenage friends next to the square’s temporary beach volleyball courts. “There aren’t many places for us to spend time in the city without paying something,” she tells me. “Here there is always something happening and all we need is the bus fare to come.”

Tirana’s child-first reforms are also reclaiming formerly public plots of land that have been taken over for private uses such as garages and parking in the immediate post-communist years.

With central planning control largely removed during Albania’s semi-lawless 1990s, Tirana’s apartment buildings started to bulge with informal extensions, and self-built houses started to sprawl across farmland. Many formerly public courtyards and open spaces were encroached upon for private uses, such as garages, parking lots, small sheds—and in a few rare cases, even tower blocks. By clearing away these illegal occupations, the city restored the spaces to common use.

“Ours is a fundamentally Mediterranean culture,” says Veliaj, “where a lot of social life takes place outside in the afternoons and evenings. But if public spaces have been taken over by private owners, if sidewalks aren’t wide enough or cars are rushing by all the time, who is going to want to sit outside breathing in fumes and looking at someone’s garage?”

The need for children’s play space has over the past few decades been met by the same private interests. The city’s huge expansion has left little open space, prompting the private sector to step in with children’s facilities in the form of small playgrounds attached to cafés and bars, where access comes at the price of a drink. This creates an inherent inequality between those children whose parents can afford to access play space and those who cannot.

“One thing that's come out of our research here is that parents pay for their kids to play,” said Simon Battisti, director of Qendra Marrëdhënie, a Tirana spatial consultancy non-profit working with the city. “There is very little public open space of qood quality, especially on the periphery.

“Time after time, parents we talked to lamented this issue that they had to pay for their kids to play locally—some as much as a quarter of their monthly disposable income to play. Having this little creature that must expend this energy every day. if you don't have a park nearby, the best place to go is the bar. That means that the poorest people, out on the periphery, are currently paying the most.”

Reclaiming public space for both the children and adults of Tirana, and refashioning the city into a greener, denser, and less car-dependent place, has been a slow, deliberate process.

But not everyone immediately embraced the changes. During the construction of the Grand Park playground in 2015, the site saw 78 days of constant protest, and even sabotage of construction equipment. This intensity of feeling partly represents the extremely polarized nature of Albanian politics, but also shows how battered public confidence in the state had become. Some feared a large-scale destruction of the park, one that might enable officials partly to harvest kickbacks to builders and allow the commercial exploitation of garden space in one of the most exclusive areas of the city.

One… [more]
tirana  via:derek  albania  urban  urbanism  srg  children  cities  planning  urbanplanning  safety  mobility 
december 2018 by robertogreco
Opinion | What Straight-A Students Get Wrong - The New York Times
"A decade ago, at the end of my first semester teaching at Wharton, a student stopped by for office hours. He sat down and burst into tears. My mind started cycling through a list of events that could make a college junior cry: His girlfriend had dumped him; he had been accused of plagiarism. “I just got my first A-minus,” he said, his voice shaking.

Year after year, I watch in dismay as students obsess over getting straight A’s. Some sacrifice their health; a few have even tried to sue their school after falling short. All have joined the cult of perfectionism out of a conviction that top marks are a ticket to elite graduate schools and lucrative job offers.

I was one of them. I started college with the goal of graduating with a 4.0. It would be a reflection of my brainpower and willpower, revealing that I had the right stuff to succeed. But I was wrong.

The evidence is clear: Academic excellence is not a strong predictor of career excellence. Across industries, research shows that the correlation between grades and job performance is modest in the first year after college and trivial within a handful of years. For example, at Google, once employees are two or three years out of college, their grades have no bearing on their performance. (Of course, it must be said that if you got D’s, you probably didn’t end up at Google.)

Academic grades rarely assess qualities like creativity, leadership and teamwork skills, or social, emotional and political intelligence. Yes, straight-A students master cramming information and regurgitating it on exams. But career success is rarely about finding the right solution to a problem — it’s more about finding the right problem to solve.

In a classic 1962 study, a team of psychologists tracked down America’s most creative architects and compared them with their technically skilled but less original peers. One of the factors that distinguished the creative architects was a record of spiky grades. “In college our creative architects earned about a B average,” Donald MacKinnon wrote. “In work and courses which caught their interest they could turn in an A performance, but in courses that failed to strike their imagination, they were quite willing to do no work at all.” They paid attention to their curiosity and prioritized activities that they found intrinsically motivating — which ultimately served them well in their careers.

Getting straight A’s requires conformity. Having an influential career demands originality. In a study of students who graduated at the top of their class, the education researcher Karen Arnold found that although they usually had successful careers, they rarely reached the upper echelons. “Valedictorians aren’t likely to be the future’s visionaries,” Dr. Arnold explained. “They typically settle into the system instead of shaking it up.”

This might explain why Steve Jobs finished high school with a 2.65 G.P.A., J.K. Rowling graduated from the University of Exeter with roughly a C average, and the Rev. Dr. Martin Luther King Jr. got only one A in his four years at Morehouse.

If your goal is to graduate without a blemish on your transcript, you end up taking easier classes and staying within your comfort zone. If you’re willing to tolerate the occasional B, you can learn to program in Python while struggling to decipher “Finnegans Wake.” You gain experience coping with failures and setbacks, which builds resilience.

Straight-A students also miss out socially. More time studying in the library means less time to start lifelong friendships, join new clubs or volunteer. I know from experience. I didn’t meet my 4.0 goal; I graduated with a 3.78. (This is the first time I’ve shared my G.P.A. since applying to graduate school 16 years ago. Really, no one cares.) Looking back, I don’t wish my grades had been higher. If I could do it over again, I’d study less. The hours I wasted memorizing the inner workings of the eye would have been better spent trying out improv comedy and having more midnight conversations about the meaning of life.

So universities: Make it easier for students to take some intellectual risks. Graduate schools can be clear that they don’t care about the difference between a 3.7 and a 3.9. Colleges could just report letter grades without pluses and minuses, so that any G.P.A. above a 3.7 appears on transcripts as an A. It might also help to stop the madness of grade inflation, which creates an academic arms race that encourages too many students to strive for meaningless perfection. And why not let students wait until the end of the semester to declare a class pass-fail, instead of forcing them to decide in the first month?

Employers: Make it clear you value skills over straight A’s. Some recruiters are already on board: In a 2003 study of over 500 job postings, nearly 15 percent of recruiters actively selected against students with high G.P.A.s (perhaps questioning their priorities and life skills), while more than 40 percent put no weight on grades in initial screening.

Straight-A students: Recognize that underachieving in school can prepare you to overachieve in life. So maybe it’s time to apply your grit to a new goal — getting at least one B before you graduate."
education  grades  grading  colleges  universities  academia  2018  adamgrant  psychology  gpa  assessment  criticalthinking  anxiety  stress  learning  howwelearn  motivation  gradschool  jkrowling  stevejobs  martinlutherkingjr  perfectionism  srg  edg  mlk 
december 2018 by robertogreco
Bria Bloom: A Grown Unschooler Dedicated to Liberating the Next Generation - YouTube
"Bria Bloom is the Community Manager of the Alliance for Self-Directed Education (ASDE). In this interview with ASDE board member Scott Noelle, Bria shares her educational journey and provides a behind-the-scenes look into her work with the Alliance, advancing the SDE movement."
briabloom  2018  unschooling  homeschool  education  self-directed  self-directedlearning  srg  edg  schools  schooling  learning  howwelearn  scottnoelle 
december 2018 by robertogreco
Ida Bae Wells on Twitter: "Probably the most amazing thing that has come from me working on my book is how researching and writing it has proven so revelatory for *me.* I’ve come to understand in such a profound way how racism is at its heart and above
"Probably the most amazing thing that has come from me working on my book is how researching and writing it has proven so revelatory for *me.* I’ve come to understand in such a profound way how racism is at its heart and above all else a capitalist endeavor.

THIS is why our schools are unequal. Black children, black people, from the beginning, were never intended to be able to compete with white labor and white success. Our schools were and are designed to ensure that on scale, this will never happen, that we will serve not rule.

I’ve my whole life been trying to understand the why of racism. Why this hatred? Why couldn’t block people simply be left alone to thrive? Why the intentional destruction and neglect t of our businesses, schools, our neighborhoods, our *dreams*...

And, my God, tracing the denial of literacy,education from slavery until now, it has become starkly clear to me in a way that it never had been before. I knew, but I did not know. One can look at Detroit, NYC, Newark, LA and see nothing is broken. It is all operating as designed.

As famous abolitionist once said: That which is illegitimate from its beginning cannot be made so simply by the passage of time."
education  slavery  history  capitalism  economics  2018  race  racism  schools  schooling  literacy  srg  abolition  publicschools  nikolehannah-jones 
december 2018 by robertogreco
Library Planet – A crowdsourced Lonely Planet for libraries <3
"Library Planet is like a crowdsourced Lonely Planet for libraries of the world meant to inspire library travelers to open the awesome book that is our world of libraries, cities and countries.

We want to give you a guide to the world of libraries.

Everybody can contribute to Library Planet. See how here: https://libraryplanet.net/contribute/

When we got enough of Library Planet stories we want to publish it as a book. Damn right we are.

Library Planet is founded and edited by Christian Lauersen of Roskilde Libraries and Marie Engberg Eiriksson of Gladsaxe Libraries, Denmark.

Christian is director of libraries and citizen services in Roskilde Municipality. He believe libraries are crucial institutions in every community, public as academic to create and open, more diverse, inclusive and equal world. Also: Music listener, LEGO Aficionado, Ukulele jammer, Football player. Based in Copenhagen. Christian is a frequently used presenter at conferences and blogs about library development at The Library Lab: https://christianlauersen.net/

Marie works as a consultant and communications team lead at Gladsaxe public Libraries. She loves libraries and anything related to it. She nerds IFLA habitually as a standing committee member of the IFLA section library services to people with special needs and is on the board of a special needs publishing house. Marie also does many things realted to yarn, thread and fabric and she will travel pretty far for WWII museums.

She presents at conferences and workshops on matters related to library services to people with special needs.

Christian:
E-mail: cula at roskilde dot dk
Twitter: @clauersen
Instragram: @librarylovestories
The Library Lab blog: https//christianlauersen.net

Marie:
E-mail: mariee at gladsaxe dot dk
Twitter: @MarieeEiriksson "
libraries  travel  cv  lonelyplanet  guides  marieeriksson  chistianlauersen  classideas  srg 
december 2018 by robertogreco
Mendeley - Reference Management Software & Researcher Network
"Access your library, everywhere
Add papers directly from your browser with a few clicks or import any documents from your desktop. Access your library from anywhere. Windows, Mac, Linux and all browsers.

Easy referencing
Generate references, citations and bibliographies in a whole range of journal styles with just a few clicks.

Build your Research network
30 million references and over 6 million researchers to discover. Our personalised recommendations makes staying up to date easy.

Career development and funding
172,785 science and technology jobs to advance your career. Grant information from over 2,000 organizations to launch your research project."
mac  oscx  windows  linux  ios  android  research  software  writing  srg  education  academia  applications 
november 2018 by robertogreco
EarthBound Fans Are Releasing a Book About Years of Hoping for a Mother 3 Western Release - IGN
"Titled “C'mon Nintendo, Give Us Mother 3,” the book is coming to Fangamer in late 2018 and chronicles years of waiting for the follow-up to Nintendo’s beloved quirky RPG.

“Today, asking Nintendo to translate Mother 3 has become a huge running joke - it's even been featured on national television and parodied by top Nintendo executives,” the book’s description reads. “But how did hope for a simple game translation blow up into something so big? Rumors, hype, letdowns, and lies - this is the story of the most-wanted game translation ever.”

The EarthBound series is called Mother in Japan, with EarthBound known as Mother 2. In 2006, Mother 3 was released for Game Boy Advance in Japan, but Nintendo made it clear that there were no plans to release it in the West. Later that year, fans rallied to put together a translation that was ultimately released in 2008 and later offered to Nintendo for free by fans.

Nintendo has never discussed plans to release Mother 3 outside of Japan, though main character Lucas was included in Super Smash Bros. Brawl on Wii in 2008 as well as Smash Bros. for Wii U and 3DS as DLC.

Last year, Nintendo’s Reggie Fils-Aime told IGN that releasing Mother 3 “has a different set of complexities” and “really isn't a Nintendo-owned franchise,” but didn’t rule out the possibility of it eventually heading West.

Rumors about a Western release of Mother 3 have circulated for years, most recently fueled by a Japanese release of Mother 3 on Wii U virtual console in 2015. Since then, EarthBound was re-released on Wii U virtual console, and later ported to New Nintendo 3DS and included in the Super NES Classic, and characters were even included in Super Mario Maker. In 2013, Nintendo told us EarthBound re-releases had no impact on Mother 3's release chances.

Still, some hope remains for EarthBound fans since the original Mother, long unreleased in the West and known among fans as EarthBound Zero, was eventually released in the West as EarthBound Beginnings in 2015.

IGN has reached out to Nintendo about this book and will update this story with any comment we receive.

For anyone new to EarthBound, be sure to listen to Nintendo Voice Chat's breakdown of why EarthBound is a big deal, plus read our EarthBound review of the 2013 re-release."
mother3  earthbound  mother2  ninendo  games  gaming  srg  edg  2018 
november 2018 by robertogreco
EarthBound by Ken Baumann: New Boss Fight Book on the SNES RPG Classic – Boss Fight Books
"An RPG for the Super NES that flopped when it first arrived in the U.S., EarthBound grew in fan support and critical acclaim over the years, eventually becoming the All-Time Favorite Game of thousands, among them author Ken Baumann.

Featuring a heartfelt foreword from the game's North American localization director, Marcus Lindblom, Baumann's EarthBound is a joyful tornado of history, criticism, and memoir.

Baumann explores the game’s unlikely origins, its brilliant creator, its madcap plot, its marketing failure, its cult rise from the ashes, and its intersections with Japanese and American culture, all the while reflecting back on the author's own journey into the terrifying and hilarious world of adults."
earthbound  videogames  games  gaming  srg  edg  2014  marcuslindblom  mother2  nintendo 
november 2018 by robertogreco
Emulator.Games - Download FREE ROMs for GBA, SNES, PSX, N64, 3DS, PSP, PS2, XBOX, WII, NDS, SEGA, NES and more
"Play Game ROMs on your PC, Mobile, Mac, iOS and Android devices.
Download Emulator Games and Free ROMs fast and start playing the best games.
Available to Play Online directly in browser or Download."

Mother [NES]
https://emulator.games/roms/nintendo/mother-h1/

Mother 1+2 [Gameboy Advance]
https://emulator.games/roms/gameboy-advance/mother-1-2/

Mother 3 [Gameboy Advance]
https://emulator.games/roms/gameboy-advance/mother-3/

Mother 3 (Eng. Translation 1.1) [Gameboy Advance]
https://emulator.games/roms/gameboy-advance/mother-3-eng-translation-1-1/

Earthbound [Super Nintendo]
https://emulator.games/roms/super-nintendo/earthbound/
games  gaming  videogames  retro  mother  mother3  mother2  mother1  earthbound  srg  edg  nintendo 
november 2018 by robertogreco
One Hour One Life
"a multiplayer survival game of parenting and civilization building by Jason Rohrer"



"This game is about playing one small part in a much larger story. You only live an hour, but time and space in this game is infinite. You can only do so much in one lifetime, but the tech tree in this game will take hundreds of generations to fully explore. This game is also about family trees. Having a mother who takes care of you as a baby, and hopefully taking care of a baby yourself later in life. And your mother is another player. And your baby is another player. Building something to use in your lifetime, but inevitably realizing that, in the end, what you build is not for YOU, but for your children and all the countless others that will come after you. Proudly using your grandfather's ax, and then passing it on to your own grandchild as the end of your life nears. And looking at each life as a unique story. I was this kid born in this situation, but I eventually grew up. I built a bakery near the wheat fields. Over time, I watched my grandparents and parents grow old and die. I had some kids of my own along the way, but they are grown now... and look at my character now! She's an old woman. What a life passed by in this little hour of mine. After I die, this life will be over and gone forever. I can be born again, but I can never live this unique story again. Everything's changing. I'll be born as a different person in a different place and different time, with another unique story to experience in the next hour..."



"The thinking behind One Hour One Life [a YouTube playlist]

"How to Deal With A Crisis of Meaning" (The School of Life)
https://www.youtube.com/watch?v=nu8d3iW2yxM

"Bonsai: the Endless Ritual | Extraordinary Rituals | Earth Unplugged"
https://www.youtube.com/watch?v=PEGevD5jd64

"Power of the Market - The Pencil"
https://www.youtube.com/watch?v=R5Gppi-O3a8

"Primitive Technology: Forge Blower"
https://www.youtube.com/watch?v=VVV4xeWBIxE

"The Game Design Challenge 2011: Bigger Than Jesus Panel at GDC 2011"
https://www.youtube.com/watch?v=UAG6XzGah8Q

"Last Day Dream"
https://www.youtube.com/watch?v=ZWlbZO92ZyA

"334 Time Life - Rock A Bye Baby - 1976"
https://www.youtube.com/watch?v=63fBJPFPCbs "
games  gaming  videogames  jasonrohrer  civilization  parenting  philosophy  gamedesign  small  change  purpose  meaningoflife  meaning  generations  srg  edg 
november 2018 by robertogreco
OpenEmu - Multiple Video Game System
"OpenEmu is about to change the world of video game emulation. One console at a time...
For the first time, the 'It just works' philosophy now extends to open source video game emulation on the Mac. With OpenEmu, it is extremely easy to add, browse, organize and with a compatible gamepad, play those favorite games (ROMs) you already own."
emulators  games  gaming  videogames  mac  osx  srg  edg 
november 2018 by robertogreco
LTWP | Tokyo and the Mini-Map
[also here: https://github.com/ltwp/ltwp/blob/master/writing/tokyo_mini_map.md
https://tinyletter.com/gnamma/letters/gnamma-6-a-breather-tokyo-and-the-mini-map ]

"I went to Japan for the first time recently with my friend Nathan, after a decade of mounting interest credit to a boyhood of manga, Miyazaki, and Nintendo. Much of what we enjoyed was just walking around.

Tokyo in particular was dazzling in its balance of vastness and minute detail. Its differences from LA, the large city that I know best, are acute. I had been warned by friends that finding things in Japan, no less Tokyo, required patience, as there is no over-arching city structure, streets are rarely named, Google Maps spotty, and directions given completely relative. (Google Maps did prove immensely useful for getting within a ballpark.) Meanwhile, Los Angeles, while not completely a modernist’s dream, is mostly grids and scaffolded by well-labeled arteries. I regularly wish Google Maps could give me directions in the just-precise-enough way that Angelinos do: “take the 105 to the 110 North and get off at Figueroa… go up a bit, past the school, then it’ll be on your right.” In LA, these major roads provide a fairly immutable reference grid for the city. Tokyo residents must have their own techniques for finding things to the necessary fidelity of their city.

I picked up Fumihiko Maki’s City with a Hidden Past at Tsutaya Books in Daikanyama and ate it up as Tokyo revealed itself. The book has some history on land use and the growth patterns that shaped Edo-Tokyo. Knowing just a bit about land use, expansion, and topography make a city richer and more legible.

Modern Tokyo addressing can get you within a block of what you’re looking for; sub-block specificity, including which door on which floor of which unmarked apartment building, still requires tenacity. (Kudos to the Japanese Post.) In chapter 5, the author notes that the denser the neighborhood, the more the street gets used as personal space, and more “neighborliness” is often exhibited. (Note this was written before super-dense high-rises existed.) The denser the neighborhood, too, the harder to locate things tucked away. We found that, when seeking something nearby, people were excited to help and occasionally went to lengths to help us locate it.

[image]

Maki’s book discusses the crucial distinction between street as ground versus street as figure across urban and architectural scales. Central Tokyo feels very much the former. Details of careful homesteading fill your visual space while tiny, unlabeled streets function as just a vessel. In Los Angeles, it’s the opposite—the grand, charactered avenues and freeways navigate a sea of monotone housing. (The Hollywood and East side hills don’t quite fit this paradigm, though.)

[image]

Maki’s book discusses the crucial distinction between street as ground versus street as figure across urban and architectural scales. Central Tokyo feels very much the former. Details of careful homesteading fill your visual space while tiny, unlabeled streets function as just a vessel. In Los Angeles, it’s the opposite—the grand, charactered avenues and freeways navigate a sea of monotone housing. (The Hollywood and East side hills don’t quite fit this paradigm, though.)

[image]

Chapter 3, on the Japanese sense of place and microtopology, notes that the orienting landmarks of Tokyo are hills, shrines, department stores, convenience stores, and perhaps historic sites. I started to collect the mini-maps I found across our Japan trip, as reference ephemera to see what things were chosen as orientation markers, and how large a scale was deemed necessary to make a place findable again. Schools, Museums, and recognizable chain brands are indeed frequent, as are the through lines of train tracks and rivers. Hills have largely been folded into placenames proper. Streets and buildings bounce between foreground and background in the maps, and in some the streets are actually labeled. Not all have North pointed up. There is a lot of variety, but nearly all are tightly cropped. Some mini-maps even expect that their location be found virtually only by a visual of the local urban topology. Directions become completely relative: dependent on your ability to find a landmark, know which way is North, and remember where you got off the train.

[image]

Nearly anyone who has played videogames, and the vast swath of the wealthy world that has used GIS navigation software, is accustomed to using a mini-map for local or superlocal orientation and contextual construction. The crucial decisions of what’s included in the map depend on expected audience, common references, and necessary fidelity: the same decisions we make giving directions in any city.

Peter Turchi, in Maps of the Imagination, writes about prototypical use of the digital mini-map:
A common premise of [video] games is that they show the player only a very limited portion of physical ‘space’ at any one time. The key to success is […] to find your way through the [landscape], which is revealed only in fragments, creating mystery and suspense.

Navigating a city isn’t a video game (though Pokémon Go and Geocaching challenge that). However, getting around a new city—especially one without legible large-scale structure—can feel like exploring the unknown as one moves between points of comprehension (intersections, plazas, landmarks).

From the ground, every city exposes itself in pieces, and the urbanite’s mental map accumulates with time and observation. Now that I am back in Southern California, my mental map of Tokyo is but a patchwork of mini-maps, subway lines, and locally understood spaces—all quickly stagnating until the dynamic replenishment of future conversations, more maps, and, hopefully, another trip.

— Lukas
3 August 2018"
srg  tokyo  japan  maps  2018  mapping  losangeles  lukaswinklerprins 
november 2018 by robertogreco
Japanese Dictionary for iPhone, iPad, Android | iThinkdiff.net
[see also: https://itunes.apple.com/us/app/japanese-dictionary-translator/id504762414 ]

"Bilingual dictionary translate words and phrases from English to Japanese and Japanese to English. Over 156,000 English and 194,000 Japanese words in an offline dictionary, with offline pronunciation of English words and online pronunciation of English & Japanese words. Includes single player and multi-player vocabulary training games.

Key Features:
—————————————
• Translate individual words, phrases, or whole sentences
• Scan English text in image by pointing your device camera to search in dictionary
• Cross search feature. Touch a word for a while for the menu [Copy | Define | Search | Pronunciation]
• Bookmark and Recent History for instant recall
• Multiple games to help students improve their English or Japanese vocabulary
• Online & Offline Pronunciation for English & Japanese text
• Flash Card & Word of the Day for vocabulary learning
• Phrase Book

Detailed Description
—————————————
Designed for students, professionals and travelers using any iOS device, including iPhone, iPad, and iPod Touch. Japanese Dictionary will automatically optimize itself for both Universal displays and Retina displays to ensure text is easy to read.

Users can customize the font for both English and Japanese to ensure the text is readable. Definitions include Wiktionary word information, including historical uses of the word and synonyms to help students find the most appropriate word for any sentence.

Users can copy and paste translations into any other app or send the translation directly by SMS text message—plus the translation can be sent to Twitter as a tweet, Facebook as a status update, or LinkedIn as a network update.

The optional Word Of The Day uses a notification to send students a random most useful English word and definition to help the student expand his or her vocabulary.

Flash card, multiple choice, and word guess games test students on their existing vocabulary and help them quickly learn new words.

Additional online games and feedback encourage study. Word Fight Multiplayer pits two students against each other online to see who has learned the most. Achievements and Leaderboard track the most advanced users, rewarding students for effective study."
ios  dictionaries  japanese  srg 
november 2018 by robertogreco
‎imiwa? on the App Store
"This application is a multilingual Japanese dictionary that does not require an internet connection.

Imiwa? was created using the amazing JMdict files from the Electronic Dictionary Research and Development Group based on the work of Jim Breen on the EDICT project.

While some definitions are available in 4 languages (English, French, Russian and German), only the English translation is guaranteed for all entries in the JMDict dictionary. Initiate a search in any of those 4 languages, in Japanese or in romaji and imiwa? will do the rest.

imiwa? Also includes a rich database of kanji (KanjiDic), examples (from tatoeba.org) and conjugations as well as tools suitable for beginners.

Use the Traditional Chinese character recognition keyboard included in the iOS system for drawing kanji on screen."
ios  japanese  dictionaries  srg 
november 2018 by robertogreco
Japanese
"Lost in translation?
Not anymore.
Japanese is the ultimate study companion for any Japanese learner. Discover the language, learn the grammar and master it with flashcards."

[See also: https://itunes.apple.com/us/app/japanese/id290664053 ]
japanese  dictionaries  ios  srg  android 
november 2018 by robertogreco
Jisho.org: Japanese Dictionary
"Jisho is a powerful Japanese-English dictionary. It lets you find words, kanji, example sentences and more quickly and easily.

Enter any Japanese text or English word in the search box and Jisho will search a myriad of data for you.

Here’s a few example searches to give you a taste of what Jisho can do.

• Great English search: house
• Text reading assistance: 昨日すき焼きを食べました
• Inflection information: 走った
• Multi word search: 日 sunlight
• JLPT N3 adjectives: #jlpt-n3 #adjective
• Grade 1 jōyō kanji: #grade:1 #kanji
• Common words that end with 家: #word #common ?*家
• Convert Japanese years: 昭和52
• Convert Japanese numbers: 4778万

There are more examples and explanations on the search options page."
japanese  srg  dictionaries 
november 2018 by robertogreco
By The Bay
[See also: https://www.ballot.fyi/ ]

"Take a break from the national chaos, and dip into the fascinatingly bizarre world of local elections. We explain California, San Francisco, and San Jose propositions & races so you'll laugh, cry, and vote on Election Day, November 6th.

We also made this neat tool so you can save your votes and talk about local issues with your friends.

Okay, let's do this civic duty dance and show how Democracy is done, shall we?



ABOUT US (REALLY)

By The Bay is led by Jimmy Chion and Yvonne Leow, two San Franciscans, who love almost all things Californian.

Our mission is to transform residents into citizens. We think local issues like housing, homelessness, and public transit affect us everyday, but it's hard to know how to participate. By The Bay is our way of changing that, starting with elections.

WE'RE NONPARTISAN, BUT NOT BORING
We try to convey all relevant arguments as fairly and factually as possible. We are human though – so please email us at hi@bythebay.cool if you see anything that needs some TLC.

WE MADE A THING BEFORE
In 2016, we built ballot.fyi to explain all of the confusing CA propositions. To our surprise, it reached ~1M people in one month. This year, we're covering local elections again. Hopefully making you a little smarter and our community a little better.

WE'RE FUNDED BY THE KNIGHT FOUNDATION
In 2017, we received a $75K grant from the Knight Foundation to continue ballot.fyi. The Knight Foundation is a nonpartisan non-profit that supports local journalism initiatives across the country. BTB is a for-profit organization, but fiscally sponsored by the non-profit Asian American Journalists Association.

WHO WE ARE (AS PEOPLE)

JIMMY CHION was a designer and engineer at IDEO, an instructor at California College of Arts, and an Artist-in-Residence at Autodesk. He has two degrees from Stanford, neither of which have anything to do with politics. He created ballot.fyi, and now leads design and development at BTB. Send him a punny message at jimmy@bythebay.cool

Yvonne Leow
YVONNE LEOW is a digital journalist by trade. She has worked at Vox.com, Digital First Media, and the AP. She is currently the president of the AAJA and was a John S. Knight Journalism Fellow at Stanford. Yvonne leads editorial and partnerships at BTB. Send her a haiku at yvonne@bythebay.cool."
bayarea  sanfrancisco  sanjose  elections  votersguide  voting  politics  srg  edg  glvo  california  propositions 
november 2018 by robertogreco
California State Propositions – a nonpartisan guide [updates every election]
"nonpartisan
We're tired of fliers telling us how to vote. ballot.fyi doesn't tell you what to do, instead we give you the facts and arguments about each proposition so you can come to your own conclusion. We cite all of our sources (try clicking this little circle
) and try to represent all relevant perspectives – that's what we mean by nonpartisan. But, we're human, and we don't know everything, so if you know something we didn't cover, email us at fax@ballot.fyi (with sources cited)

concise
We've read the full text of the propositions, the official arguments of both sides, and many, many opinion articles so we can give you concise but comprehensive digests of what's on the ballot. These are real issues that affect real animals, and we hope these summaries get you interested in what's happening in CA and make you feel ready to vote.

a tool
We want you to feel good – amazing even – on Election Day, and we also hope that you'll want your friends to feel fantastic, because this site's only purpose is to get more folks voting. So do us a solid and tell your friends they get to vote on Daylight Saving Time this November.

About Amir & Erica
Amir & Erica (you know, like "America") was created by Jimmy Chion (a designer and engineer) and Yvonne Leow (a journalist) with the help and balance of many friends, left and right. We first made ballot.fyi in 2016. It reached a million people in one month, and in 2017, we received a $75K grant from The John S. and James L. Knight Foundation to continue ballot.fyi into 2018. The Knight Foundation promotes informed and engaged communities through funding in journalism, arts, and technology.

If you live in San Francisco or San Jose, we created By The Bay to cover those local propositions. [https://www.bythebay.cool/ ]"
votersguide  voting  california  propositions  politics  srg  edg  glvo  sanfrancisco  sanjose  bayarea  elections 
november 2018 by robertogreco
Should I Go to Trade School or College?
"High schoolers are weighing the benefits of blue-collar trades at a time when well-paying jobs—and no debt—are hard to pass up."

[See also:
"Generation Z Is Skipping College for Trade School
With the job market in flux, younger Americans are trying to avoid an education that comes with a massive amount of debt."
https://www.vice.com/en_us/article/43ejmj/generation-z-is-skipping-college-for-trade-school ]
genz  education  srg  edg  highered  highereducation  colleges  universities  vocations  vocationalschools  generations  studentdebt  jobs  work  economics  2018  us  alternative  generationz 
november 2018 by robertogreco
Director Andrea Arnold on the cross-country party that produced American Honey | The Verge
"How did you end up with the 4:3 aspect ratio?

It's an artistic decision. I've done my last three films with the same ratio. It's a ratio I much love. My films are usually about one person and their experiences of the world. So I'm mainly following them around, filming them quite closely. And it's a very beautiful frame for one person. It frames them with a huge amount of respect. It gives them kind of honors, the human in that frame. I was very attracted to it when I first started making films, but I wasn't able to articulate it and understand why I was doing it until later. But now I understand, that respect is what it's about."
4:3  aspectratio  andreaarnold  2016  film  framing  srg  filmmaking  focus 
october 2018 by robertogreco
“Minding the Gap,” Reviewed: A Self-Questioning Documentary About What Happened to a Group of Young Skaters | The New Yorker
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
'Minding the Gap': How Bing Liu Turned 12 Years of Skate Footage into the Year's Most Heartfelt Doc
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  webapps  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
“I Had a Moral Crisis”: Bing Liu on Minding the Gap, Personal Doc Voiceovers and Cycles of Abuse | Filmmaker Magazine
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
elisehunchuck [Elise Misao Hunchuck]
[via: https://twitter.com/lowlowtide/status/1052233654074654720

"what a rare pleasure, listening 2 @elisehunchuck presenting her research on an incomplete atlas of stones: ‘Trangressions & Regressions’ @tudelft #ULWeek2018

“stones help us understand how the earth moves”—@elisehunchuck"]

"Elise Hunchuck (b. Toronto) is a Berlin based researcher and designer with degrees in landscape architecture, philosophy, and geography whose work focuses on bringing together fieldwork and design through collaborative practices of observation, care, and coordination. Facilitating multidisciplinary exchanges between teaching and representational methods as a way to further develop landscape-oriented research methodologies at multiple scales, her research develops cartographic, photographic, and text-based practices to explore and communicate the agency of disasters through the continual configuring and reconfiguring of infrastructures of risk, including memorials, monuments, and coastal defense structures.

A University Olmsted Scholar, Elise was recently a finalist for the 2017 Maeder-York Landscape Fellowship at the Isabella Stewart Gardner Museum (Cambridge, US) and a research fellow with the Landscape Architecture Foundation (Washington DC, US). Her writing has appeared in The Funambulist and her research has been featured on BLDGBLOG. She has taught representational history and methods in the graduate architecture, landscape, and urban design departments at the Daniels Faculty of Architecture, Landscape, and Design, University of Toronto (Toronto, CA) and has been an invited critic in the undergraduate and graduate programs at the architecture, landscape, and urban design departments at the Daniels Faculty and the School of Architecture at Waterloo.

Elise is also a member of the editorial board of Scapegoat Journal: Architecture / Landscape / Political Economy.

For general enquiries, commissions, or collaborations, please contact directly via email at elisehunchuck [at] gmail [dot] com."

[See also:

"An Incomplete Atlas of Stones"
https://elisehunchuck.com/2015-2017-An-Incomplete-Atlas-of-Stones
https://cargocollective.com/elisehunchuck/An-Incomplete-Atlas-of-Stones-1
https://www.daniels.utoronto.ca/news/2018/02/21/elise-hunchuck-mla-2016-presents-incomplete-atlas-stones-aa-london
https://thefunambulist.net/articles/incomplete-atlas-stones-cartography-tsunami-stones-japanese-shoreline-elise-misao-hunchuck
https://thefunambulist.net/contributors/elise-hunchuck

"Warnings Along the Inundation Line"
http://www.bldgblog.com/2017/06/warnings-along-the-inundation-line/

"Century Old Warnings Against Tsunamis Dot Japan's Coastline"
https://www.smithsonianmag.com/smart-news/century-old-warnings-against-tsunamis-dot-japans-coastline-180956448/

"How Century Old Tsunami Stones Saved Lives in the Tohoku Earthquake of 2011"
https://www.forbes.com/sites/davidbressan/2018/03/11/how-century-old-tsunami-stones-saved-lives-in-the-tohoku-earthquake-of-2011/#18355a8244fd

https://www.daniels.utoronto.ca/news/2017/06/28/bldgblog-features-incomplete-atlas-stones-elise-hunchuck-mla-2016

https://issuu.com/danielsfacultyuoft/docs/2016.04.11_-_2016_winter_thesis_rev ]
elisehunchuck  landscape  multispecies  morethanhuman  japan  iceland  tsunamis  design  fieldwork  srg  multidisciplinary  teaching  place  time  memory  disasters  risk  memorials  monuments  coasts  oceans  maps  mapping  photography  canon  scale  observation  care  caring  coordination  markers 
october 2018 by robertogreco
GRE Not Required – a running list of PhD programs that cut the cord
"This website lists PhD programs which do not require GRE scores. This is an ongoing project — I am looking for collaborators willing to take charge of building lists in the social sciences, sciences and in other fields.

This information makes it easier for more departments to move away from using GRE scores and allows applicants in some fields to avoid taking this test altogether.

Applicants should confirm this information by consulting department websites themselves. (This information is normally listed in a section of a department website dedicated to applying to the PhD program.)"
gre  gradschool  standardizedtesting  srg 
october 2018 by robertogreco
Everyday life in bygone days in Tokyo, 1966 昭和東京 - YouTube
"A German camera crew filmed this record of family life in Tokyo 45 years ago. The children go off to school and father works in the factory. It was the start of the industrial boom in the so-called Showa time. Labour was still cheap. TV sets were hand soldered. Many parts were still manufactured in small home industries. Finally the family gathers again in their tiny homes. Futons behind the wall doors. A time Japanese are still nostalgic about."
japan  tokyo  srg  1966  video 
october 2018 by robertogreco
the LAB Anti-Mall
[via: https://www.instagram.com/p/BoKwCSpH85A/ ]

"Not everyone knows this, but The LAB stands for “Little American Business” and that’s exactly who we are and what we strive to support.

The LAB began its journey to combat retail monotony when it was recycled from a night-vision goggle factory, more than 25 years ago!

In the midst of Orange County’s suburbia, we recognized a need for an original, indoor-outdoor unconventional hang-out packed with a wide array of cafes, restaurants and retail that embraced a vibrant community of lovers in art, music, fashion and hip cuisine.

You'll find us located about a half a mile south of the 405 Freeway on Bristol Street in Costa Mesa, California. A quick look at our website will give you the inside scoop on happenings and special events including live music, maker markets and artist installations.

Welcome to The LAB."

[See also:
https://www.instagram.com/thelabantimall/
https://www.instagram.com/explore/locations/3796900/the-lab-anti-mall/ ]
costamesa  via:davidtedu  orangecounty  srg 
september 2018 by robertogreco
What It Would Take to Set American Kids Free | The New Yorker
"My trip coincided with the publication of “The Anti-Helicopter Parent’s Plea: Let Kids Play!” in the Times Magazine, a masterful bit of parental trolling whose comment section reached a symbolic two thousand and sixteen entries before it was closed. The dozens of adventure playgrounds in Tokyo offer, as a public amenity, what Mike Lanza (the “anti-helicopter parent” in question) says he created in his private Menlo Park, California, back yard: a challenging and unscheduled place for physical play that is largely free of parental supervision. Lanza is far from alone in believing that American children have a play problem. Take a look at Lenore Skenazy’s Free-Range Kids blog, which is peppered with reports of cops and child-protective services being called when parents leave their kids to play unsupervised. Lanza’s own book, “Playborhood,” describes the kids-can’t-play problem as both a social one and a spatial one. Without broader community support, such back-yard attempts at free play like his are doomed to become exercises in vanity. Look at them on the roof! My kids are more resilient than yours!

The overprogrammed, oversterilized, overprotected lives of (some of) America’s youth are the result of a nexus of changes to work life, home life, and street life that have made bringing up babies into a series of consumer choices, from unsubsidized day care forward. It is the public realm—where the Tokyo playgrounds operate—that needs to change for American children to have unstructured afternoons and weekends, for them to bike and walk between school and the playground, to see packs of kids get together without endless chains of parental texts. Kawasaki City, where Kodomo Yume Park is located, created its own Ordinance on the Rights of the Child, in 2001, which includes an article promising to make “secure and comfortable places for children.”

But independence requires infrastructure. Hanegi Playpark was founded in 1975 by Kenichi Omura, a landscape architect, and his wife Shoko Omura, an English teacher. They translated the key book on adventure play into Japanese and then travelled to Europe to meet with the woman who was their prime mover from the nineteen-fifties on: Lady Allen of Hurtwood. Lady Allen had seen the first such “junk playground” in Emdrup, outside Copenhagen, where it became a refuge for youth then under German occupation. She spent subsequent decades as a “propagandist for children’s play.” In Tokyo, a low crime rate and a society accustomed to community ownership of public space has created, around Hanegi and approximately thirteen other such parks, a city where there is more room for innocent error.

The road to Kodomo Yume Park (which means “children’s dream”) was narrow and winding, and there was no sidewalk for much of the way. And yet it was safe, because the tiny cars knew to look for pedestrians and cyclists, and drove at slower speeds. There were people in the houses and stores along the route, and few of the buildings were more than three or four stories tall, offering “eyes on the street” as well as adults who might be appealed to for help. The neighborhood, like the adventure playground, operated as a safety net, ready in case of trouble but not often deployed. A mother who was camped out at Yume Park with five children, the youngest a three-month-old, told me a story—hilarious for her—that would have been a nightmare for me. Her two-year-old, who had observed his five-year-old brother being sent to the corner to buy bread, decided he could do the same, and turned up at the shop with an empty wallet. I looked around at the protected bike lanes, the publicly funded playground workers, and the houses where people are home in the afternoon. Do I wish that my kids—who are five and nine**—**could roll on their own from school to the park, meet friends, and appear on the doorstep at 5 p.m., muddy, damp, and full of play? I do, but then I think of the Saturdays dominated by sports schedules, the windswept winter playgrounds, the kids hit by cars in crosswalks, with the light. It isn’t the idea of my kids holding a hammer or saw that scares me but the idea of trying to make community alone.

At the adventure playgrounds, the kids build the equipment they need under the hands-off supervision of play workers trained to facilitate but not to interfere. I’ve read the diary of the first play worker, John Bertelsen, who ran the adventure playground that Lady Allen visited at Emdrup. His account of the day-to-day in 1943 sounds quite similar to what I observed in 2016.
At 10:45 am today the playground opened . . . We began by moving all the building material in the open shed. Bricks, boards, fireposts and cement pillars were moved to the left alongside the entrance, where building and digging started right away. The work was done by children aged 4 to 17. It went on at full speed and all the workers were in high spirits; dust, sweat, warning shouts and a few scratches all created just the right atmosphere. The children’s play- and work-ground had opened, and they knew how to take full advantage of it.

The do-it-yourself rule is, to a certain extent, self-limiting, as towers built with simple tools are shorter than those ordered from catalogues. I saw plenty of children up on roofs—the rule was, if you can climb up without a ladder, relying on your own strength and ingenuity, it’s O.K. In a documentary on The Land, a Welsh adventure playground, a play worker describes the difference between risk and hazard: a risk you take on knowingly; a hazard is unexpected, like a nail sticking out of a board. The play workers are there to remove hazards and leave the risks.

Journalism about adventure play tends to emphasize the danger, but these spaces actually need to be seen as exceptionally porous community centers, in which lots of social activities, for parents and children, occur. “Risky play” is a way for children to test their own limits, and because the parks are embedded in residential communities they can do so at their own pace. Hitoshi Shimamura, who runs the organization Tokyo Play, told me that he has sessions to teach parents to use the tools, because their fear derived from their own lack of experience. Kids also need time to ease into the freedom and figure out which activity most appeals to them. If adventure play were to become permanent in New York, it would do better as a permanent fixture in a neighborhood than as a weekend destination. At a temporary adventure playground set up by Play:Ground on Governors Island this summer, a sign on the fence read, “Your children are fine without advice and suggestions,” though legally, children under six had to be accompanied by a parent or guardian.

The “adventure” can be with water, with tools, with real fire, or just with pretend kitchen equipment, allowing the parks to appeal to a broad array of children, and over a longer period of time. What this means, in practice, is a range of activity during days, weeks, or even years. In the morning, adventure playgrounds become settings for an urban version of a forest preschool, where small children learn the basics of getting along outdoors. In the afternoon, they become a place for older kids to let off steam between school and homework; many communities in Tokyo play a public chime at five in the afternoon—a mass call that is it time to go home. On the weekends, Yume Park might ring with the hammers of children, but for teen-agers there are other options: a recording studio with padded walls; a wooden shed piled with bike parts for the taking; a quiet, shaded place for conversation. Bertelsen wrote in his diary,
Occasionally, complaints have been made that the playground does not possess a smart enough appearance, and that children cannot possibly be happy playing about in such a jumble. To this I should only like to say that, at times, the children can shape and mould [sic] the playground in such a way that it is a monument to their efforts and a source of aesthetic pleasure to the adult eye; at other times it can appear, to the adult eye, like a pigsty. However, children’s play is not what the adults see, but what the child himself experiences.

One of my favorite moments in Tokyo occurred late one afternoon at a smaller adventure playground, Komazawa Harappa, a long sliver of space in a tight residential neighborhood, masked from the street by a simple hedge. Three kids fanned the flames in a fire pit; a baby padded about a dirty pool dressed in a diaper; two small boys, hammering on a house, had remembered to take their shoes off on the porch. But not everyone felt the need to be busy. Two teen-age girls had climbed up on the roof of the play workers’ house, via a self-built platform of poles and planks, and seemed deep in conversation. Suddenly, they began to sing, their clear voices ringing out over the open space."
alexandralange  children  unschooling  deschooling  community  2016  infrastructure  parks  playgrounds  adventureplaygrounds  risk  risktaking  hazards  japan  parenting  openstudioproject  messiness  johnbertelsen  kenishiomura  ladyallen  emdrup  copenhagen  tokyo  kodomoyumepark  srg  urban  urbanism  play  lenoreskenazy  hanegiplaypark  tools  dirt  order  rules  mikelanza  supervision  safety  independence  us  shokoomura  diy  risklyplay  lcproject  tcsnmt  sfsh 
september 2018 by robertogreco
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