Dang Nguyen
@digitaldang.bsky.social
1.1K followers 410 following 650 posts
Researcher of media technologies and infrastructures from below and across Southeast Asia www.dangnguyen.digital
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digitaldang.bsky.social
This is messing with my head, and I can't look away.
digitaldang.bsky.social
Hard to parse who the end user is if everyone’s each other’s customer.
digitaldang.bsky.social
Mine's also arriving today! I'm perched by the window in anticipation...
digitaldang.bsky.social
So there you have it: three rivers, three temperatures of thought—silt, mirror, shimmer. The rivers were never waiting to be spoken for. They were keeping the record all along.

earthobservatory.nasa.gov/images/14620...
Mekong Turns from Brown to Blue-Green
In late 2019, the river started to turn colors due to a reduced sediment load and algae blooms.
earthobservatory.nasa.gov
digitaldang.bsky.social
After the Saigon River, this quiet felt almost moral—an education in restraint. The clearer the water, the less it reveals. The Cherwell taught me how thought tidies itself into argument, how institutions mirror the river’s calm to conceal the sediment beneath.

cherwell.org
digitaldang.bsky.social
When I later walked along the Cherwell, I noticed how differently a river could speak. Here the water was cool, deliberate, disciplined into banks. The punts drifted lazily; the reeds looked rehearsed.

www.booktopia.com.au/death-on-the...
Cover of Death on the Cherwell by Mavis Doriel Hay, part of the British Library Crime Classics series. The illustrated scene shows two women in a small wooden boat on a calm river. One woman, dressed in a yellow gown, reclines against pink cushions under a folded parasol, while the other, wearing a purple dress, stands with a long pole, reaching toward the overhanging branches of a willow tree. The title appears in bold yellow letters on a green box at the top, with the author’s name below. The style evokes 1930s British mystery aesthetics, elegant and slightly theatrical.
digitaldang.bsky.social
From my balcony, I could see barges passing, hauling sand from the delta. Even then, I knew the current was carrying more than silt.
digitaldang.bsky.social
In Thảo Điền, nicknamed "Rich Vietnam," I was practicing distance as aspiration: learning how privilege feels when it’s still porous, how the river both separates and connects.
digitaldang.bsky.social
Let’s stage this through three bodies of water: the Saigon River, the Cherwell, and Venice.
The Mekong (before flooding) in Cambodia and Vietnam.

This series of Terrand And Aqua MODIS images from August 2002 shows flooding in the Mekong River Delta in southeast Asia. In the false-color images black represents open water, green represents land, cyan represents low-level water clouds, white represents high-level ice clouds, and bright blue represents flooding in the marshlands. Notice that the river—s outflows into the sea are the same bright blue color as the flooded, inland areas. That is because in both cases, the color is the result of sunlight inbterating with soil (sediment) and water. In these images from August 1, 28, and 29, 2002, Cambodia is in the image center, and Vietnam is at right.
digitaldang.bsky.social
I’ve been reading Robert Macfarlane’s new book while thinking about @davidgunkel.bsky.social's work on moral and legal ontology—how rivers, mountains, and perhaps AI systems are granted legal personhood. What does it mean to speak for a river, to name its rights, to imagine its intentions?
A hardcover copy of Is a River Alive? by Robert Macfarlane lies on a wooden table. The book’s cover is a vivid green background overlaid with flowing, river-like patterns in pale blue, lavender, and white, giving the impression of winding waterways or currents. The title “IS A RIVER ALIVE?” is printed in large white letters across the top half, while the author’s name, “ROBERT MACFARLANE,” appears below in black. A subtitle at the bottom reads, “Bestselling author of Underland.”
digitaldang.bsky.social
What I'll add though, is that the idea that you can automate work as a "bundle of tasks" is misguided. Work carries affect, care, and love—things that are beyond automation.
digitaldang.bsky.social
That makes a lot of sense. It feels like the paradox of this whole moment, doesn’t it? Efficiency buys us time but often spends our meaning. (And fair—you don’t have to be a philosopher to feel that one.)
digitaldang.bsky.social
Oh no, that's no good! Curious as to why they would feel that way, if genAI is helping them, by the sound of it?
digitaldang.bsky.social
Yes! When we flatten thought into computation, we’re also flattening empathy into efficiency. The machines aren’t imitating us; we’re rehearsing which parts of ourselves we’re willing to outsource. (Love your screen name BTW 🎃).