Podcast appearances and mentions of andre breton

Get out your pipes and magnifying glasses, Sherlock HOLES is on the case. This week we're joined by our good friend Detective Gigi to look into these matters on Alan Rudolph's INVESTIGATING SEX, aka INTIMATE AFFAIRS. We get into the film's setting, its depiction of real surrealist artists and intellectuals, Andre Breton, post-WWI artists and philosophers, their bankrolling by the upper class, the characters' posturing and the women they've hired to transcribe their arcane discussions, incel behavior, sex demons, and how this film speaks not just to the 2020s, but to 2001 and the 1920s. Also, don't forget to WRITE INTO THE MAILBAG, we'll answer all of your questions when we wrap up on Alan Rudolph in a few weeks. Hi Femme article mentioned in the episode Hyper-femininity, Transaction and ‘Showgirls' with Carlee Gomes Follow Gigi: Twitter Bluesky Conversation w/ Karthik Puru Follow Altmania: Linktree Subscribe to Este's Writing Altman / Rudolph Archive Support us on Patreon: patreon.com/altmania

Episode 164 Chapter 25, Electronic Music in Japan and The Asia-Pacific. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 25, Electronic Music in Japan and The Asia-Pacific from my book Electronic and Experimental music.   Playlist: ELECTRONIC MUSIC IN JAPAN AND THE ASIA-PACIFIC   Time Track Time Start Introduction –Thom Holmes 01:32 00:00 1.     Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Early work of tape music. 13:50 01:36 2.     Toru Takemitsu, “Vocalism Ai (Love)” (1956). For magnetic tape (condensed from a 72-hour tape montage. 04:11 15:22 3.     Makoto Moroi and Toshiro Mayuzumi, “Shichi No Variation (7 Variations)” (1956). Tape music for sine wave generators. 14:51 19:32 4.     Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958). For magnetic tape. 03:28 34:24 5.     Group Ongaku, “Object” (1960). Recorded on May 8, 1960, at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 07:34 37:50 6.     Toru Takemitsu, “Water Music” (1960). For magnetic tape. 09:41 45:26 7.     Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration).” For magnetic tape and reader. 07:05 55:06 8.     Group Ongaku, “Metaplasm Part 2” (1961). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Tadashi Mori (conductor), 09:08 01:02:10 9.     Akira Miyoshi (composer), opening excerpt to Ondine (1961). For orchestra, mixed chorus and electronic sounds. 04:32 01:11:18 10.   Joji Yuasa ‎– “Aoi No Ue” (1961). For voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio. 29:50 01:15:50 11.   Kuniharu Akiyama, “Noh-Miso” (track 1) (1962). Tape music. Hitomi-Za is an experimental puppet theatre group. They had performed in February 13-17 in 1962 at Sogetsu Kaikan Hall. This program was consisted of three parts, and Joji Yuasa, Kuniharu Akiyama and Naozumi Yamamoto composed background sound for each part. 01:44 01:45:40 12.   Toshi Ichiyanagi, “Parallel Music” (1962). Tape music recorded at NHK Electric Music Studio, Tokyo Japan. 09:12 01:47:22 13.   Kuniharu Akiyam, “Demonstration of Nissei Theater” (excerpt) (1963). “Demonstration of Nissei Theater” composed in 1963 for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo. 05:15 01:56:36 14.   Toshi Ichiyanagi, “Sound Materials for Tinguely” (1963). “Music For Tinguely” was composed at the studio of Sogetsu Art Center. This rare track comprises sound materials used for that composition. 03:31 02:01:54 15.   Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." 04:24 02:05:26 16.   Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965). Tape piece for violin and chamber orchestra. 10:01 02:09:46 17.   Joji Yuasa, “Icon on the Source Of White Noise” (1967). Tape work using white noise as material and designed for a multi-channel system. In the original version, several sound images of various widths (e.g. three loudspeakers playing simultaneously) moved at different speeds around the audience, who were positioned inside the pentagonal loudspeaker arrangement. 12:13 02:19:44 18.   Makoto Moroi, “Shosanke” (1968). Tape work fusing electronic sounds with those of traditional Japanese instruments. 13:20 02:31:54 19.   Minao Shibata, “Improvisation for Electronic Sounds” (1968). Tape piece for electronic sounds. 09:27 02:45:12 20.   Toshi Ichiyanagi, “Love Blinded Ballad (Enka 1969)” from the Opera "From The Works Of Tadanori Yokoo" (1969). Tape collage. 06:57 02:54:40 21.   Toshi Ichiyanagi, Music for Living Space (1969, Bijutsu Shuppan-Sha), composed for the Electric Faculty of Engineering of Kyoto University. Early Computer Music combined with Gregorian chant for Osaka Expo '70. 08:49 03:01:34 22.   Toshiro Mayuzumi, “Mandara” (1969). Tape piece for electronic sound and voices. 10:22 03:10:24 23.   Takehisa Kosugi,  “Catch-Wave” (Mano Dharma '74)” (1974). “Mano-Dharma '74” is an excerpt from a meta-media solo improvisation performed by Takehisa Kosugi. From his notes: “Sounds speeding on lights, light speeding on sounds music between riddles & solutions. ‘the deaf listen to sounds touching, watching.” 26:32 03:20:42 24.   Yoshi Wada ‎– Earth Horns with Electronic Drone, excerpt, (1974). Electronics by Liz Phillips. Pipehorn players Barbara Stewart, Garrett List, Jim Burton, Yoshi Wada. Composed by, recorded by Yoshi Wada. Recorded at Everson Museum of Art, Syracuse, New York, Sunday 2-5pm, February 24, 1974. 10:51 03:47:10 25.   Matsuo Ohno, Takehisa Kosugi, “B.G.M. Parts A-F” (1963). Music and effects later used for Astroboy. 06:59 03:57:48 26.   Joji Yuasa, “My Blue Sky (No. 1)” (1975). Tape parts realized at NHK Electronic music studio. 15:43 04:05:00   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Nous sommes en novembre 1924. C'est à cette époque que commence la publication d'une série de tracts intitulée « Correspondance ». Une aventure éditoriale que l'on considère comme étant la première manifestation du surréalisme en Belgique. A l'initiative de ce projet, on retrouve Camille Goemans et Marcel Lecomte, mais surtout Paul Nougé qui, quelques années plus tôt, a participé à la fondation du Parti communiste belge. Peu de temps après, Nougé rencontre les surréalistes français, Louis Aragon, André Breton et Paul Éluard, et signe, le 21 septembre 1926, une tribune intitulée « La Révolution d'abord et toujours » qui parait dans le journal communiste « L'Humanité ». On peut y lire : " Plus encore que le patriotisme, qui est une hystérie comme une autre, mais plus creuse et plus mortelle qu'une autre, ce qui nous répugne, c'est l'idée de Patrie qui est vraiment le concept le plus bestial, le moins philosophique dans lequel on essaie de faire entrer notre esprit. Nous sommes certainement des barbares, puisque une certaine forme de civilisation nous écœure." 1926 marque l'ébauche de la constitution du groupe surréaliste de Bruxelles avec l'arrivée de Louis Scutenaire et, bien sûr, René Magritte. La collaboration entre parisiens et bruxellois sera souvent très tendue. Plus tard encore les Wallons, avec notamment Achille Chavée, développeront leur propre mouvement. Les surréalistes belges veulent transformer le monde à partir du langage et de la représentation, leur activité va se développer sur près de soixante ans, couvrant trois générations. Le mouvement, dans son ensemble, par-delà les frontières, aura marquer durablement le vingtième siècle. Pourquoi ? Les Belges ont-ils cultivé leur particularisme ? Comprenons-nous bien leur héritage lorsque l'on parle, aujourd'hui, de « surréalisme à la belge » pour décrire la moindre situation incongrue, voire stupide ? Sujets traités : Camille Goemans , Marcel Lecomte, Paul Nougé, communiste, Louis Aragon, André Breton, Paul Éluard, surréalisme, René Magritte, philosophie, Avec nous : Xavier Canonne, historien de l'art, directeur du Musée de la Photographie de la Communauté française de Charleroi Sujets traités : Camille Goemans , Marcel Lecomte, Paul Nougé, communiste, Louis Aragon, André Breton, Paul Éluard, surréalisme, René Magritte, philosophie, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Il sesto episodio dell'undicesima stagione del podcast di Moon Safari offre all'ascolto l'unione tra le nostre esplorazioni musicali al chiaro di luna e la lettura di due poesie di André Breton.PLAYLIST POETICA- Sulla strada di San RomanoLa poesia si fa in un letto come l'amoreLe sue lenzuola sfatte sono l'aurora delle coseLa poesia si fa nei boschiHa lo spazio che le occorreNon questo ma quello che condizionano                                        L'occhio del nibbio                    La rugiada sull'equiseto                    Il ricordo di una bottiglia di Traminer appannata su un                                                                                  [vassoio d'argento                    Un'alta colonna di tormalina sul mare                    E la strada dell'avventura mentale                    Che sale a picco                    Si ferma e subito s'ingarbugliaNon è cosa da gridare dai tettiÈ sconveniente lasciare la porta apertaO chiamare dei testimoni                                        I banchi di pesci le siepi di cinciallegre                    I binari all'entrata di una grande stazione                    I riflessi delle due rive                    I solchi del pane                    Le bolle del ruscello                    I giorni del calendario                    L'ipericoL'atto d'amore e l'atto poeticoSono incompatibiliCon la lettura del giornale ad alta voce                                        Il senso del raggio di sole                    Il luccichio azzurro che lega i colpi d'ascia del taglialegna                    Il filo dell'aquilone a forma di cuore o di nassa                    Il battito ritmico della coda dei castori                    La diligenza del lampo                    Il lancio di confetti dall'alto di vecchie scalininate                    La valangaLa camera degli incantesimiNo signori non si tratta dell'ottava CameraNé dei vapori della camerata la domenica sera                                        Le figure di danza eseguite in trasparenza sopra gli stagni                    La delimitazione di un corpo di donna contro il muro al                                                                                      [lancio dei coltelli                    Le volute chiare del fumo                    La curva della spugna delle Filippine                    Le gemme del serpente corallo                    Il varco dell'edera attraverso le rovine                    Lei ha tutto il tempo davanti a séLa stretta poetica come la stretta carnaleFinché duraImpedisce le prospettive di miseria del mondo[André Breton, Sur la route de San Romano. Poesia pubblicata in origine sulla rivista “Néon”, n. 3, maggio 1948. Ripresa poi in Signe ascendant (1968)]- La mia donnaLa mia donna: capelli di fuoco di legna Pensieri di lampi di calore Vita di clessidra La mia donna: vita di lontra tra i denti della tigre La mia donna: bocca da coccarda e fascio di stelle di ultima grandezza Denti a impronta di topo bianco sulla terra bianca Lingua d'ambra e vetro lucidati La mia donna: lingua d'ostia trafittaLingua di bambola che apre e chiude gli occhi Lingua di pietra incredibile La mia donna: ciglia di aste di scrittura infantile Sopracciglia a bordo di nido di rondine La mia donna: tempie d'ardesia di tetto di serra Vapore sui vetri La mia donna: spalle di champagne Fontana con teste di delfini sotto ghiaccio La mia donna: polsi di fiammiferi La mia donna: dita d'azzardo e d'asso di cuori Dita di fieno tagliato La mia donna: ascelle di martora e faggiola Notte di San Giovanni Ligustro e nido di scalari Braccia di schiuma marina e di chiusa Miscuglio di grano e mulino La mia donna: gambe di missile Movimenti d'orologeria e disperazione La mia donna: polpacci di midollo di sambuco La mia donna: piedi a iniziale Piedi a mazzi di chiavi, piedi di calafati che bevono La mia donna: collo d'orzo imperlato La mia donna: gola di Val d'Or Appuntamenti persino nel letto del torrente Seni notturni La mia donna: seni di monticelli di talpa marina La mia donna: seni di crogiolo di rubini Seni di spettro della rosa rugiadosa La mia donna: ventre spiegato di ventaglio dei giorni Ventre d'artiglio gigante La mia donna: schiena d'uccello che fugge verticale Schiena d'argento vivo Schiena di luce Nuca a sasso levigato e gesso bagnato Caduta di bicchiere nel quale si è bevuto La mia donna: anche di navicella Anche a lampadario e penne di freccia Nervature di piume di pavone bianco Bilancia insensibile La mia donna: natica di arenaria e amianto La mia donna: natica a dorso di cigno La mia donna: natica primaverile Sesso di gladiolo La mia donna: sesso di giacimento aurifero e di ornitorinco La mia donna: sesso d'alga e vecchie caramelle La mia donna: sesso di specchio La mia donna: occhi pieni di lacrime Occhi di panoplia violetta e ago magnetizzato La mia donna: occhi di savana La mia donna: occhi d'acqua da bere in prigione La mia donna: occhi di legno sempre sotto l'ascia Occhi dei livelli d'acqua d'aria di terra e fuoco[André Breton - La mia donna, poesia tratta da “I surrealisti francesi – Poesia e delirio”Edizione Nuovi Equilibri, Viterbo, 2004]PLAYLIST MUSICALE > https://open.spotify.com/playlist/106d61ODFVYRXpJnSe7mnZ?si=bB3BxrjET_6-7EBcFuHFPQ&pi=rBjWlEpfRj2QZLettura di Sulla strada di San Romano, prima parte con Air - modular mix Maya Jane Coles - Darkside Stray ft. Machinedrum - Movements Jan Blomqvist - The Space In Between (Ben Bohmer remix)Four Tet - LA Trance con la lettura di "Sulla strada di San Romano" (seconda parte)Jon Hopkins - Vessel Telepopmusik - Close (ft Deborah Anderson) Neroche - Enchanted Boy Glass Animals - Gooey HVOB - Bloom Massive Attack - Teardrop Mazaruni Dub One con la lettura di "La mia donna" Amalia Gré - ProfondoMoon Safari, esplorazioni musicali e poetiche al chiaro di lunaUn programma di e con Claudio Petronella - Stagione 11In onda su RBE radio TV ogni sabato alle 23 in replica ogni domenica alle 22.www.rbe.it/trasmissioni/moon-safari

Be Honest with Dr Yana Date: 07.12.24 Ep 33 Guest: Victor Morgado Topic: Women as Psychopaths- Destryoing Families Bio: Victor Morgado is a multidisciplinary, self-taught polyglot and intuitive artist. He became aware of his calling as an artist between 1962 and 1965, when he was between eight and ten years old. His mother's constant encouragement to explore new ideas greatly influenced him during what became known as the "Golden Era of Puerto Rican Literature" (1950-1970). This period marked a coming of age after 50 years of resistance to being allowed to officially express ourselves in our native language. Since 1898, when Spain surrendered Puerto Rico to the USA, the English language had been imposed for half a century. When that restriction ended, there was a cultural explosion ten years prior to the global cultural revolution of the 1960s. After a psychedelic experience that called his attention to the importance of symbolism as a tool to connect with the unconscious, indirectly reconnecting him with the Manifesto of Surrealism by Andre Breton published in 1924—a profound path of possibilities opening the mind for self-individuation. Throughout 1980s he had several exhibitions at Valducci Gallery in Amsterdam and was a fashion model for Issey Miyake. In 2024, he began writing his memoirs.

Andre Breton from the United States is remembering the kindness of Labradorians. He recently completed one of his largest cycling trips ever, travelling from 54 degrees north, Cartwright, to 54 degrees south, Ushuaia, Argentina. He spoke with Labrador Morning's Heidi Atter from there.

What does the work of painter Renoir and his paintings of full-bodied women (2.15; 12.34), and tanning beds (2:30) have to do with the Quebecois author Marie Claire Blais (3:15) and La Belle Bette/Mad Shadows (3:20)? Have a listen to today's episode to find out …In this episode, Linda looks at Blais's Mad Shadows and its historical importance to Quebec. Among other subjects, she also references:Value Village, Holt Renfrew 1:3; 11:58 )Sheila Fischman (3:45)New Yorker (4:47; 16:11)Margaret Atwood (4:58; 16:24 )Andre Gide, Andre Breton (5:22; 17:04 )Karen Kain, Veronica Tennant (6:08; 18:02)Elle magazine (11:43)Fluevog Shoes (11:48)Quel est le rapport entre l'œuvre du peintre Renoir et ses tableaux de femmes épanouies (2.15 ; 12.34), et les lits de bronzage (2:30), et l'auteure québécoise Marie Claire Blais (3:15) et La Belle Bette/Mad Shadows ( 3:20) ? Écoutez l'épisode d'aujourd'hui pour le découvrir...Dans cet épisode, Linda se penche sur La Belle Bette et son importance historique pour le Québec. Parmi d'autres sujets, elle fait également référence à :Value Village, Holt Renfrew (1:3 ; 11:58)Sheila Fischman (3:45)New Yorker (4:47 ; 16:11)Margaret Atwood (4:58 ; 16:24 )André Gide, André Breton (5:22 ; 17:04 )Karen Kain, Veronica Tennant (6:08 ; 18:02)Elle magazine (11:43)Chaussures Fluevog (11:48) Hosted on Acast. See acast.com/privacy for more information.

Nous sommes en juin 1924. C'est dans treizième numéro de la revue « Littérature », fondée par les surréalistes André Breton, Louis Aragon et Philippe Soupault, que le public peut admirer, pour la première fois, une photographie en noir et blanc devenue mythique, intitulée « Le Violon d'Ingres » réalisée par l'artiste américain Man Ray. L'image représente Kiki de Montparnasse, l'une des icônes du Paris des Années folles, muse du photographe. On la voit nue, de dos , le creux de ses reins arborant les ouïes d'un violon. Le titre reprend une expression de la langue française désignant une passion telle que celle que le peintre français, mort en 1867, éprouvait pour le violon. C'est aussi un hommage direct à Jean-Dominique Ingres que le photographe admirait et à un personnage de son célébrissime tableau « Le Bain turc ». Mais Man Ray ne peut être réduit à ce cliché, lui qui a cherché, sans relâche, expérimenté de nouvelles techniques et, chemin faisant, bousculé le monde de l'art, s'affranchissant des codes et des diktats. Son parcours est fait d'allers-retours entre les Etats-Unis et L'Europe à la poursuite de l'expression artistique idéale mais aussi fuyant l'antisémitisme ravageur. « Détaché, mais pas indifférent », c'est l'épitaphe qui figure sur sa tombe au cimetière de Montparnasse, à Paris. Partons sur les traces de Man Ray … Invitée : Anne Hustache, historienne de l'art. Sujets traités : Man Ray, André Breton, Louis Aragon ,Philippe Soupault, surréaliste, photographe, Montparnasse, Paris, Kiki de Montparnasse, artiste Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

To support the show & keep the ParaPower Mapping office lights on, join the Independent Cork Board Researchers Union by paying your ICBRU dues over on Patreon. Also, pls rate & review the show so others can discover our patent brand of meticulous audio parapolitical power maps. ⁠patreon.com/ParaPowerMapping Every sub goes towards kibble for Davey the Podcast. Wow, we're so lucky. Today on PPM, we're joined by Laihall, who is running point on this charge into the windswept Manitoban past, as we unpack the equal parts remarkable, tragic, & hopeful history of the visionary poet & indigenous resistance leader Louis Riel, organizer of the Red River Rebellion & a primary player in the North West Rebellion after it. In this first part, we lay some of the necessary groundwork in preparation for weaving this multi-decade saga of righteous armed resistance against Anglo-Canadian settler colonialism. We discuss the forces of capitalist extraction; the paramilitaries such as the Orange Order that have so often served as the imperial pawns on the frontier, linking the power structure of the colonial system; the secret societies such as freemasonry which are a hierarchically a step above & which manipulate groups like the Orangemen as their farm leagues or feeder schools... To synopsize, we learn about Métis culture & life ways; Laihall teaches us about the ethnogenerative process that gave rise to the rich & wholly unique Métis ethnicity & culture, formed from the unions of Cree, Ojibwe, & Algonquian women and French, Anglo, & Scottish fur traders; we talk French voyageurs; we learn about how Métis men frequently contracted with the Hudson's Bay Company or American competitors as fur trappers, connecting this investigation to our "Fur Connection" series; we learn how Louis Riel, Sr. opposed the HBC's monopoly in Rupert's Land—or to be even more accurate, that he brought about the monopoly's death knells through his savvy organizing & legal advocacy, an economic history that prefigures his son's rebellious organizing; we learn about Louis's early life; his vast family; some of Laihall's Métis lineage & his unique vantage point into this saga; we talk about Louis Riel the volcel seminarian; we begin to assemble the array of adversarial forces that would attempt to quash the Métis self-determination (and, if need be, annexation to America) movement; this brings into view some of our primary villains, such as Canada's first prime minister John MacDonald, who facilitated the purchase of Rupert's Land (what would become the Northwest Territory) from the HBC & who set in motion the involuntary surveys of Métis land that served as a flashpoint; we introduce John Christian Schultz, the founder of the Canada First movement & party, who sought to create a Nazi-esque, Anglo majority, frostbitten nation on the high plains and who founded the very first Masonic lodge in the NW; we talk about his crony, Thomas Scott, the Ichabod Crane looking m'fer & Orangeman (meaning a member of the Protestant & Northern Irish paramilitary that served as a cudgel for British imperialism); and we conclude Pt. I of our Riel narrative w/ the surveyors who have been sent to annex & prepare the way for the displacement of Métis peoples on behalf of their Anglo-Canadian overlords getting run off... And then, before we sign off, we enjoy a brief coda where we tie in Laihall's Qs & Clues prompt and pose a challenge to all ParaPower Mappers who will heed the call: to aid us in a mapping of the sus Surrealist networks that included figures like Andre Breton & various Canadian "Indian agents" who misappropriated sacred Coast Salish regalia intended for potlatch ceremonies. This leads us to an extended riff on "Gollum Klonny" & the dangers of parapolitical "nugget" covetousness. Songs: | Jon Maytwayashing - "Orange Blossom Special" | | "Kispi Kisagitin" | | Gordon McGilvery - "Cree Round Dance Song" |

Nous sommes en novembre 1924. C'est à cette époque que commence la publication d'une série de tracts intitulée « Correspondance ». Une aventure éditoriale que l'on considère comme étant la première manifestation du surréalisme en Belgique. A l'initiative de ce projet, on retrouve Camille Goemans et Marcel Lecomte, mais surtout Paul Nougé qui, quelques années plus tôt, a participé à la fondation du Parti communiste belge. Peu de temps après, Nougé rencontre les surréalistes français, Louis Aragon, André Breton et Paul Éluard, et signe, le 21 septembre 1926, une tribune intitulée « La Révolution d'abord et toujours » qui parait dans le journal communiste « L'Humanité ». On peut y lire : " Plus encore que le patriotisme, qui est une hystérie comme une autre, mais plus creuse et plus mortelle qu'une autre, ce qui nous répugne, c'est l'idée de Patrie qui est vraiment le concept le plus bestial, le moins philosophique dans lequel on essaie de faire entrer notre esprit. Nous sommes certainement des barbares, puisque une certaine forme de civilisation nous écœure." 1926 marque l'ébauche de la constitution du groupe surréaliste de Bruxelles avec l'arrivée de Louis Scutenaire et, bien sûr, René Magritte. La collaboration entre parisiens et bruxellois sera souvent très tendue. Plus tard encore les Wallons, avec notamment Achille Chavée, développeront leur propre mouvement. Les surréalistes belges veulent transformer le monde à partir du langage et de la représentation, leur activité va se développer sur près de soixante ans, couvrant trois générations. Le mouvement, dans son ensemble, par-delà les frontières, aura marquer durablement le vingtième siècle. Pourquoi ? Les Belges ont-ils cultivé leur particularisme ? Comprenons-nous bien leur héritage lorsque l'on parle, aujourd'hui, de « surréalisme à la belge » pour décrire la moindre situation incongrue, voire stupide ? Invité : Xavier Canonne, historien de l'art, directeur du Musée de la Photographie de la Communauté française de Charleroi. Conférence : Le surréalisme en Belgique. Mardi 5 décembre, 12h, au Cercle Royal Gaulois Artistique & Littéraire, 5 rue de la Loi, 1000 Bruxelles. Exposition à BOZAR : 21 février-16 juin 2024. surréalisme, Belgique,Camille Goemans , Marcel Lecomte, Paul Nougé, Louis Aragon, André Breton, Paul Éluard, révolution, tract, Humanité,communiste, Achille Chavée, Louis Scutenaire, René Magritte. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Taking Sigmund Freud's theories as a point of departure, Jean-Michel Rabaté's 2014 book The Cambridge Introduction to Literature and Psychoanalysis, explores the intriguing ties between psychoanalysis and literature. With me today is Professor. Jean-Michel Rabaté. He is Professor of English and Comparative Literature at the University of Pennsylvania.  Professor Rabaté has authored and edited more than 40 books on modernism, psychoanalysis, contemporary art, philosophy, and writers like Beckett,  Pound and Joyce. Since 2008, he has been a Fellow of the American Academy of Arts and Sciences.Recommended Reading:Jean-Michel Rabaté, The Cambridge Introduction to Literature and Psychoanalysis (2014)Recommended Merchandise:Freudian Sip Coffee Mug for Psychoanalysis geeks The Unemployed Philosophers Guild Freud After therapy Breath MintsThis podcast is sponsored by Riverside, the most efficient platform for video recording and editing for podcasters.Buzzsprout - Let's get your podcast launched! Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show

Andre Breton, was a poet, but he had also studied medicine and psychiatry. He was well versed in Freud's theories and in 1924, Breton wrote the surrealist manifesto. The core idea behind the wide ranging movement was that reason and logic constrain a person's mind and that if an artist were to break free of those constraints, they could tap into a more vast area of the unconscious mind. If you want to learn more about the artists mentioned in this episode, check out Who ARTed on your favorite podcast app, or click the following links to hear the relevant episodes. Meret Oppenheim | Object Salvador Dali | The Persistence of Memory Frida Kahlo | The Two Fridas Rene Magritte | The False Mirror Marcel Duchamp | Fountain Art Smart is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.ArtSmartPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jon E. Graham is an award winning writer, translator, and graphic artist.  He specializes in books on Surrealism, esoteric traditions, and folklore.  Books he has translated include The Immaculate Conception by Andre Breton and Peter Eluard, Little Anatomy of the Physical Unconscious, and many others. In this book, we focus on his translation of The Bavarian Illuminati:  The Rise and Fall of the World's Most Secret Society written in 1914 by Rene Le Forestier.  Le Forestier utilized as much primary source material in researching this book as was available at the time.  Bavarian academic Adam Weishaupt founded the short-lived Bavarian Order of the Illuminati in 1776, mainly as a reaction to Jesuit stranglehold on education in Bavaria at the time.  An intelligent, but vain individual, Weishaupt's grand design didn't last more than 10 years. Yet the idea of the Illuminati and their efforts to sabotage the Church and other esoteric organizations planted seeds that still bear fruit today of a global organization with its tendrils in everything from the government to the stock market.   However, as pointed out by the author, the Illuminati couldn't keep itself secret for a decade, let alone for hundreds of years. For more information about Jon, and to order this fascinating book, please see:  https://www.innertraditions.com/author/jon-e-graham This podcast is available on your favorite podcast platform, or here:  https://endoftheroad.libsyn.com/episode-233-jon-e-graham-matrix-blue-pillthe-illuminatithe-illuminati-egregore Have an awesome weekend!

Come along on a ~~Dream Quest~~ with me to discover works of art that show real dreams...not just images of sleepers or "dream-like" paintings. I set out to discover the bonafides. I began in 1525 with Albrecht Durer, then moved to France with Odilon Rédon in the 1800's, the Surrealists and André Masson in the 1920's, and then shot over and up to the US in the 50's to Jasper Johns, and finally landed back at modern day with the exquisitely-observed representational paintings of Catherine Murphy. This episode was inspired by 2 main sources: 1) The book "Painting the Dream" by Daniel Bergez and also 2) An online artists' talk between 3 painters: Chie Fueki, Alexi Worth and Catherine Murphy called "Painting Table: Catherine Murphy talks with Chie Fueki and Alexi Worth" 1/21/22 hosted by DC Moore Gallery: Watch here: https://vimeo.com/668978992. In the talk, Catherine Murphy reveals that 2 of the paintings in her most recent show ("Flight" & "Begin Again") were made from real dreams that she had had (her discussion of this occurs about 1hr into the talk). Artists and artworks mentioned: "Dream Vision" by Albrecht Durer, "Dream Vision" c 1880 (x 2) by Odilon Rédon, "Gradiva" by André Masson, Jasper Johns "Flag," "Flight" & "Begin Again" by Catherine Murphy Authors/Poets and pieces mentioned: "Painting the Dream" book by Daniel Bergez, "The Gradiva: The Woman Who Walks" novella by Wilhelm Hermann Jensen, "Delusion and Dream in Jensen's Gradiva" essay by Sigmund Freud, "La Révolution Surréaliste" literary journal pub by Paul Eluard, Antonin Artaud, Andre Breton, Michel Leiris & Louis Aragon, "Une Vague de Rêves" poem by Louis Aragon Louis Aragon's Poem "Une Vague de Rêves" (A Wave of Dreams) 1924 Translated from French by Susan de Muth (2003) Excerpt used in the episode: "Dreams, dreams, dreams, with each step the domain of dreams expands. Dreams, dreams, dreams, at last the blue sun of dreams forces the steel-eyed beasts back to their lairs. Dreams, dreams, dreams on the lips of love, on the numbers of happiness, on the teardrops of carefulness, on the signals of hope, on building sites where a whole nation submits to the authority of pickaxes. Dreams, dreams, dreams, nothing but dreams where the wind wanders and barking dogs are out on the roads. Oh magnificent Dream, in the pale morning of buildings, leaning on your elbows on chalk cornices, merging your pure, mobile features with the miraculous immobility of statues, don't ever leave again enticed by dawn's deliberate lies. Who is there? Ah good: let in the infinite." Follow Pep Talks on IG: @peptalksforartists & Donate to the Peps: https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ Thank you for listening, rating, reviewing & donating! All music is licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Hello DT fam! This week on the DT Podcast we’re making a drawing based on an old surrealist drawing practice: Automatic Drawing. Popularized in the early 1900’s automatic drawing by famous artists like Andre Breton and Joan Miro, this exercise helps us get out of our busy brains into our instinctual bodies. When we let our bodies take the lead, it’s surprising what reveals itself on the page. I’ll share more about the history of Automatic Drawing and body/subconcious-focused art in next week’s subscriber news letter.While the surrealists called this Automatic Drawing, I’m renaming it, and calling our drawing today “Body’s Choice". I’m stealing this phrase from my dear friend, the writer Courtney Martin. (If you don’t subscribe to her newsletter The Examined Family you’re missing out.) I heard Courtney use that terms when talking to her eldest daughter Maya. Maya was maybe 5 or 6 at the time, and Courtney was giving Maya a couple options. Instead of asking her, “What do you think?” she offered, “Body’s Choice!” and Maya knew immediately which direction she wanted to pursue. It completely blew me away. So many of us are trained to default to our rational brain for decision making. In turn, we lose touch with those first, most essential feelings - the ones that occur in our bodies. By practicing listening to the body, trusting it, and leading with it, we develop a deeper understanding of who we are and what is right for us. And while we practice noticing that what is right for OUR bodies, we also notice that it’s often different than what’s right for OTHER people’s bodies. And we can develop a strong respect for that, too. By having awareness and boundaries around our own bodies, not only do we respect ourselves but we respect other people, too. My body, my choice. Your body, your choice.Hope you enjoy today’s DT Podcast. I’d love to see what you draw. Share it out on Instagram and tag @drawtogether.studio so we can share it there, too - or email us a photo here and we’ll share it in next week’s email. Speaking of, check out 8 year old Cole’s awesome Doodle Game Drawing. SO MUCH FUN. Everything is better when we draw together, xoxo,w Get full access to DrawTogether with WendyMac at club.drawtogether.studio/subscribe

Where did the phrase "That gave me the willies" come from and how did it kick off the American Sublime? And what was the first landscape on Earth? Find out in this week's episode as my guest, collage artist, Todd Bartel joins me to talk about our favorite subjects: Collage and Landscape. Click here to see images of Todd's work: https://www.toddbartel.com/ Click here to read Todd's writings on collage: https://issuu.com/toddbartel Todd Bartel's music (used in this episode): "Several Big Changes" 2009 (intro, musical stings and outro) & "Retinalmade and Readymade" 2020 (musical stings and end music). Listen to these and more here: https://necto.bandcamp.com/ Recommended texts: Leo Marx "The Machine in the Garden: Technology and the Pastoral Ideal in America" Man of Commerce Map, 1889 (LINK) Simon Schama "Landscape and Memory" Kenneth Clark "Landscape Into Art" Kari Jormakka "Theoretical Landscapes—On the Interface Between Architectural Theory and Landscape Architecture" William Shakespeare "Hamlet" Nathaniel Hawthorne "The Scarlet Letter" & "The Ambitious Guest" (a short story inspired by the Willey family tragedy) Amy's segment: Johann Wolfgang von Goethe "Faust" (esp the part about his Faust-y homunculus) More about the Crawford Notch/Willey Family tragedy https://en.wikipedia.org/wiki/Willey_House_(New_Hampshire) Artists mentioned: Hardu Keck, Andre Breton, Max Ernst, Comte de Lautreamont's famous image from Les Chants de Maldoror, Alfred DeCredico, Michael Oatman, Joseph Mallord William Turner, Thomas Cole, Charlie Nevad, Zdeněk Michael František Burian, Rene Magritte's "The Treachery of Images", Burgess Collins aka Jess' "Xrysxrossanthemums" 1978, Amy's segment: Rene Magritte's "The Apparition" and Andre Masson's "Gradiva" Please subscribe to the podcast to get the eps fresh out the oven. Also, don't forget to visit us @peptalksforartists on Instagram to see images associated with this episode (We love a visual aid). Thanks for your ratings and reviews on Apple podcasts! Amy's website: https://www.amytalluto.com/ Thank you Todd! Thank you listeners! See you next time. -------------------------- Other music used was licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

People argue that art can be many different things. Art is beauty, for its own sake. Art is commercial... or not. At its core, art is disruptive. From Monet to Banksy, art challenges the status quo; it provokes people to feel and think. It involves activating the imagination. Andre Breton, one of the founders of surrealism wrote in his 1924 “Manifesto of Surrealism: “The imagination is perhaps on the point of reasserting itself, of reclaiming its rights.”Imagination corresponds to change. To change the world, artists first have to see it differently and then manifest that into their mediums. The same thing is true for entrepreneurs, and for  companies. The key is training the mind to be comfortable with change. For Scott Lynn, the CEO and Founder of Masterworks, being comfortable with change and constant iteration is much more important than execution in building a new business. And Lynn used this philosophy to take on an antiquated market geared for the ultra-wealthy — the art world. Masterworks acquires pieces of art, turns them into securities through public filings with the SEC, and then presents them as products to investors through its platform. To find out how this lover of art provided access for many art investors who never had that opportunity before and how he digitized the art market, tune into Business X factors.Main takeaways: Create Luck Through Iteration: Innovation and iteration go hand-in-hand. In fact, many inventors have a cupboard full of failed projects or prototypes. Failure is not the end of the story, it's just another step forward. Initiatives that don't work create a building block for future success. Entrepreneurs should iterate like crazy because the probability of success increases with every attempt. Find A Gap: There are erroneous assumptions in many industries. An example of this is how the American automobile market assumed in the 70s that it could not face competition from Japanese automakers. Some markets may appear to be impenetrable as they have been operating in exactly the same way for decades or sometimes even centuries. But new entrepreneurs can find gaps in old industries if they know how to look. Keep up with changes in regulation and legislation, look for redundant middlemen, search for those industries with disgruntled customers or copy a gap that somebody else found in the market and do it better.  Make It Easy To Understand: Sometimes, if what you're doing seems complicated at first blush, people will instinctively shy away. You have to ease people into new ideas by making them easy to understand. Try comparing what you're doing to a market or idea that already exists, or relate your idea back to something commonplace so that you don't lose people's interest before even starting your pitch.---Business X factors is produced by Mission.org and brought to you by Hyland. For over a decade, Hyland has been named a Leader in the Gartner Magic Quadrant for Content Services Platforms, leading the way to help people get the information they need when and where they need it. More than half of 2019 Fortune 100 companies rely on Hyland to help them create more meaningful connections with the people they serve. When your focus is on the people you serve, Hyland stands behind you. Hyland is your X factor for better performance. Go to Hyland.com/insights to learn more.

Jean-Claude Silbermann est né en 1935 à Boulogne-Billancourt dans une famille bourgeoise. En 1954 il se déclare poète et décide de ne pas suivre la voie toute tracée derrière son père à la tête de son entreprise. Il prend ses distances avec sa famille. En lisant Alcools et Calligramme d'Apollinaire, il a une révélation. Il clame à l'adresse d'André Breton « Je suis surréaliste » lequel l'invite à rejoindre le mouvement entre 57 et jusqu'à sa dissolution en 69. Dès lors Breton, Antonin Artaud, Benjamin Péret deviennent ses amis et lectures.  En 1959, il publie un premier recueil de poèmes chez Jean Jacques Pauvert. Après avoir été réformé de l'armée, il n'arrive plus à écrire et en 1962, sous l'impulsion de son ami, le peintre Pierre Jaouen, il commence à dessiner et peindre. Il reprend l'écriture et la poésie, écrit des chansons. Ses œuvres sont exposées au Mamco à Genève, à Prague, Stockholm, Brest, au centre Pompidou à Paris. On le qualifie de dernier surréaliste, mais il refuse d'être traité comme une archive. Il a refusé qu'un écriteau soit apposé au fronton de sa maison dans le cadre des carnets de promeneurs inspirés sur les sentiers de Port Cros. Sa mère découvre pour la première fois Port-Cros à l'âge de 18 ans en 1929, elle en est éblouie. Jean-Claude Silbermann y met les pieds pour la première fois en 1938 à l'âge de 3 ans mais c'est finalement en 1950 que démarrent vraiment ses souvenirs d'enfance sur l'île. Il y passe toutes ses vacances après la guerre.Avec Jean-Claude nous avons parlé de son parcours personnel et artistique, des rencontres qui l'ont jalonné, de la Bretagne, de son lien à Port-Cros, d'art et de poésie et de la place du surréalisme dans notre société…Un témoignage puissant, poétique et savoureux, truffé d'anecdotes, qui vous permettra d'approcher l'univers surréaliste de Jean-Claude Silbermann que je remercie pour sa spontanéité et sa finesse, son regard à la fois sensible et sans concession sur Port Cros, la vie et le monde.Pour aller plus loin dans votre découverte du travail de Jean Claude Silbermann, je vous recommande le film « Mais qui a salé la salade de céleri ? » accompagné de son livret très complet et joliment illustré paru chez Sevendoc.Vous y trouverez notamment l'analyse faite par Christian Bernard alors directeur de musée et Fondateur du Mamco de Genève de son œuvre et notamment de son incroyable installation « Babyl Babylon » au MAMCO. Il dit : « on ne sait pas par où entrer dans cette œuvre. Tout y flotte. Nous n'y accédons que par surprise, à l'improviste. Il parle du ballet des figures de Silbermann, de figures de carnaval, d'un spectacle sans commencement ni fin, tres ouvert, d'un emboitement de choses improbables. C'est comme si le monde était un palindrome dont on ne pouvait pas faire le tour. L'article complet et toutes les notes et références citées dans l'épisode sont à retrouver sur fragileporquerolles.com

Stephanie Dueñas and Russell Shoemaker are back with another slice of Art History: they discuss Rene Magritte and his painting "The Unexpected Answer" from 1933, Giorgio “Daddy” De Chirico's influence on Rene and the Surrealists, and De Chirico's "The Song of Love" from 1914. De Chirico's metaphysical works were a first in art history and has since influenced generations of artists, especially the Surrealists. Both he and De Chirico evoke a sense of stimmung, or mood, that is especially unnerving when their paintings are realistically painted but Rene takes it a step further.  While Rene is considered a Surrealist, he was not quite like the others. His compositions raise more questions than answers and were likely inspired by the tragedy and war he experienced early in life. His interest in the macabre and uncanny, taken from Edgar Allen Poe and Lewis Carroll really took off once he left Brussels and headed to Paris, to the heart of Surrealism.  Somewhere between all of the melancholic marble statues, architectural arcades, giant chess pieces and bowler hats, Stephanie and Russell finally discuss the beginnings of Surrealism which include Andre Breton's military career, Sigmund Freud's ideas, and Max Ernst's French translation skills. Lastly, they confront the Daddy in the room and discuss that disturbing, lingering sense of uneasiness Rene's works leaves us in. And if Rene, at the end of the day, is truly a Surrealist.  Our Art Pantry of the week are Automatic, Surrealist Techniques: Frottage, grattage, eclaboussure, fumage, and decalcomania.  Topics include Belgian waffles, Surrealist bedtime stories, a forgotten Krautrock band, why your daddy doesn't listen to David Bowie, theatre, The Treachery of Images, and Daddies - lots and lots of Daddies.  The song featured in this episode was ‘Fowl and Fruit' by Patrick Kilpatrick , from Kill Patrick vol 1, which can be found here: https://patrickkilpatrick.bandcamp.com/ Consider supporting his work! Reviewing, subscribing, liking, and sharing really helps support the show! Follow us on twitter, tiktok, youtube, and instagram. You can also support us and grab some merch: https://www.artslicepod.com/shop Consider subscribing and leaving us a review on apple podcasts.

In this first edition of the Director's Highlight series, Aric and Marisa take on selected films of the controversial juggernaut Luis Buñuel. They spotlight three memorable periods of his long career: his surrealist origins in Paris, his filmmaking in Mexico, and his great late career run of films produced in France.These eras of Buñuel's career are examined through six films: UN CHIEN ANDALOU (1929), Buñuel and Salvador Dali's surrealist experimental short, VIRIDIANA (1961), the acclaimed Palme d'Or winning critique of religous charity, THE EXTERMINATING ANGEL (1962), an absurd satire of aristocratic norms, THE MILKY WAY (1969), a spiritual road film questioning the significance of religious virtues, THE DISCREET CHARM OF THE BOURGEOISIE (1972), a film about an illogical dinner party that turns catastrophic, and THE PHANTOM OF LIBERTY (1974), a film arranged by dream-logic that passes through episodes of history. Please consider supporting this show through our Patreon!Keep up with us on Instagram and Twitter: @filmchatterpod.Check out the films mentioned in this episode on our Letterboxd.Thanks for tuning in!Powered and distributed by Simplecast

This text will be in the forthcoming anarcho-surrealist collection entitled Merlin With a Machine Gun. Watch Peculiarmormyrid.com for it. Immediatism.com My other podcast, PointingTexts.org Feedback and requests to Cory@Immediatism.com, and your comment may be shared in a future episode

Production and Sound Design by Kevin Seaman

After Salvador Dali receives a well-deserved beat-down, Tish, Adam and Alex talk surrealism! Widely known, but frequently depoliticized in our current day, surrealism is a cornerstone of the critical irrealist project for us at Locust Review. We discuss its origins, missions and goals in liberating the mind from the fetters of capitalism and empire, and its communist activism. Morning Star, by Michael Lowy Black, Brown and Beige: Surrealist Writings from Africa and the Diaspora, edited by Franklin Rosemon the Robin DG Kelley Freedom Dreams: The Black Radical Imagination, by Robin DG Kelley “Manifesto for an Independent Revolutionary Art,” by Andre Breton and Leon Trotsky, signed by Breton and Diego Rivera: https://www.marxists.org/subject/art/lit_crit/works/rivera/manifesto.htm Afrosurrealism, edited by Rochelle Spencer “Claude Cahun: The Androgynous Surrealist,” by Jacqueline Martinez, The Collector: https://www.thecollector.com/claude-cahun/ “When the Surrealists Expelled Salvador Dali for “the Glorification of Hitlerian Fascism,” by Josh Jones, Open Culture: https://www.openculture.com/2018/03/when-the-surrealists-expelled-salvador-dali-for-the-glorification-of-hitlerian-fascism-1934.html Locust Radio is produced by Drew Franzblau. It is hosted by Tish Turl, Adam Turl, and Alexander Billet. Music is by Omnia Sol: https://omniasolart.bandcamp.com/

In this 2 part series, Stephanie Dueñas and Russell Shoemaker discuss Frida Kahlo’s and Diego Rivera’s time in Detroit, Michigan - a moment in time that proved to be a turning point in both of their artistic careers as well as their personal lives. You can find all the images we discuss on artslicepod.com or on instagram @artslicepod "Ribbon Around a Bomb” was the expression Andre Breton used to describe Frida Kahlo’s work. This episode explores the inner workings of said bomb: Frida’s chronic pain, sudden loss and heartbreak, combined with the disillusionment of the USA during her time in Detroit. All the while, she’s soaking in everything and discovering she is a woman of complex identities, leading us to “Self-Portrait on the Borderline Between Mexico and the United States”. Our Art Pantry of the week is Metal (Painting). The song featured in this episode was "It Felt Like My Future, Inside a Black & White Move" by by Kris Keogh. Consider supporting his work! https://kriskeogh.bandcamp.com/ There is no Art Assignment this week. @ us and # us with a photo of your completed Art Assignment, along with the episode’s title. Reviewing, subscribing, liking, and sharing really helps support the show: Follow us on twitter, tiktok, youtube, and instagram. Consider subscribing and leaving us a review on apple podcasts.

Knut Hamsun's Hunger  is a book, fundamentally, about hunger—in every sense of the word. Hamsun's nameless protagonist is starving for food, for love, and for relevance while simultaneously refusing the help of his fellow city-dwellers in Oslo, Norway. Hunger is filled to the brim with stream of consciousness, digression, and an almost unhealthy dose of self-reflection. Hamsun's work is very much in line with Dostoevsky's Notes from the Underground and the writings of Virginia Woolf (Mrs. Dalloway, specifically). One fundamental question the book asks is: How far will an individual go in order to retain their pride?You can find the books mentioned (or alluded to) in this episode right here with The Last Sisyphus Podcast affiliate links:Hunger by Knut Hamsun: https://amzn.to/3tfpNWXMrs. Dalloway by Virginia Woolf: https://amzn.to/3ckYBz6Notes from the Underground by Fyodor Dostoevsky: https://amzn.to/3rWRhAFThe Complete Stories by Franz Kafka: https://amzn.to/3viFFd3Manifestoes of Surrealism by Andre Breton: https://amzn.to/3cwsJYsThe Virtue of Selfishness by Ayn Rand: https://amzn.to/3bIXwlPThe Ego and His Own by Max Stirner: https://amzn.to/3eBB9AnDon't forget to check out The Last Sisyphus' social media, Patreon, and Substack by clicking HERE!If you liked this episode, consider sharing, subscribing, and letting me know your thoughts directly on Twitter and Instagram @TheLastSisyphus! 

In your snack-size serving of Art History this week, Stephanie Dueñas and Russell Shoemaker briefly discuss the influence of Tarot Cards on artists from the 20th century with a couple contemporary examples sprinkled in including Leonora Carrington, Salvador Dali, Andre Breton and (some of) the Surrealists, Remedios Varo, Yoshitaka Amano and Suzanne Treister. Topics include: the history of Tarot, taro (root), card spread on baguettes, Speed Racer, and Madonna’s image thievery. The Art Assignment this week is: Design or create your own tarot card! Redesign an existing tarot card OR if one doesn’t speak to you, create your own a la Breton. You can find all the images we talk about @artslicepod on Instagram or at artslicepod.com If you’re enjoying the show please leave us a positive written review on Apple Podcasts - it’s the best way for our show to reach a larger audience. Sharing the show is great too! Follow us on twitter and instagram.

In this session (the second of two) we tackle Andre Breton's Second Manifesto of Surrealism, publishing in 1929—to find ourselves not unexpectedly floored, though we manage to stand again, chastened. BE AWARE: This session ends with the Frankfurt School and the Orgone Box. Here’s a link to Breton's manifesto: http://theoria.art-zoo.com/second-manifesto-of-surrealism-andre-breton/

In this session (the first of two) we go in and out, through and around Andre Breton's First Surrealist Manifesto (Le Manifeste du Surralisme), publishing in 1924. (To note, this session ties in with our discussion of Gertrude Stein's "Composition as Explanation" in Steintime 1 and 2. Below is a link to a translation of the work. https://www.tcf.ua.edu/Classes/Jbutler/T340/F98/SurrealistManifesto.htm

Vintage Electronic Music from Japan, Part 1 Western Influence to Eastern Identity: Electronic Music in Japan from 1953 to 1963. Playlist: Toshiro Mayuzumi, “Les Œuvres Pour La Musique Concrète X, Y, Z” (1953). Makoto Moroi and Toshiro Mayuzumi, “7 Variations” (1956). Toru Takemitsu, “Vocalism AI (Love)” (1956). Group Ongaku, “Metaplasm Part 2” from Music of Group Ongaku (1961, SEER Sound Archive). Live performance, 1961, at Sogetsu Kaikan Hall, Tokyo. Cello – Mikio Tojima Cello, Drums, Tape – Shukou Mizuno Guitar – Genichi Tsuge Piano – Chieko Shiomi* Saxophone, Tape – Yasunao Tone Violin, Saxophone, Tape – Takehisa Kosugi Tadashi Mori (conductor), Akira Miyoshi (composer), opening excerpt to Ondine for orchestra, mixed chorus and electronic sounds. (1961, Time). Joji Yusa, Tracks 1-4 (1963). Incidental music for NHK Radio, based on Andre Breton's "Nadja". "The actual chart of constellations was played by three players (violin, piano, vibraphone) which was supposed as the music score. And birds' voices, electronic sound, sound generated from inside piano, through music concrete technique and constructed at the NHK Electronic Music Studio." Michiko Toyama, “Aoi No Ue (Princess Hollyhock) (Music Drama for Tape and Narration)” from Waka and Other Compositions (1960 Folkways). Joji Yuasa ‎– “Aoi No Ue” for voice and tape and based on The Tale of Genji written by Murasaki Shikibu in 11th century. Tape parts realized at NHK Electronic music studio (1961).   NHK = Nippon Hoso Kyokai (Japanese Broadcasting Corp.)   The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of vintage Japanese electronic music: Kuniharu Akiyama, 'Demonstration' Of Nissei Theater (excerpt). Music for a public demonstration of the stage machinery of the newly opened Nissei Theatre in Tokyo (1963, Edition Omega Point) Toshiro Mayuzumi, “Mandara” for electronic sounds and voices (1969, Philips). For more information about the history of Japanese electronic music, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).  

This week, Liberty and Vanessa discuss The Once and Future Witches, The Midnight Bargain, Ring Shout, and more great books. This episode is sponsored by Book Riot’s mystery thriller podcast, Read or Dead; Ritual; and Sourcebooks. Pick up an All the Books! 200th episode commemorative item here. Subscribe to All the Books! using RSS, iTunes, or Spotify and never miss a beat book. Sign up for the weekly New Books! newsletter for even more new book news. BOOKS DISCUSSED ON THE SHOW: The Once and Future Witches by Alix E. Harrow In the Study with the Wrench: A Clue Mystery, Book Two by Diana Peterfreund Ring Shout by P. Djèlí Clark A Golden Fury by Samantha Cohoe Tiny Nightmares: Very Short Stories of Horror by Lincoln Michel and Nadxieli Nieto The Midnight Bargain by C.L. Polk I Hope You’re Listening by Tom Ryan Rural Voices: 15 Authors Challenge Assumptions About Small-Town America edited by Nora Shalaway Carpenter WHAT WE’RE READING: Magic Lessons by Alice Hoffman The Redshirt by Corey Sobel The Bright Lands by John Fram MORE BOOKS OUT THIS WEEK: Midnight’s Borders by Suchitra Vijayan Junk Boy by Tony Abbott They Never Learn by Layne Fargo Regal Lemon Tree by Juan José Saer, Sergio Waisman (translator) How We Go Home: Voices from Indigenous North America (Voice of Witness) by Sara Sinclair The Gifted, the Talented, and Me by William Sutcliffe The Magnetic Fields by Andre Breton, Philippe Soupault, Charlotte Mandell (translator) How to Write One Song: Loving the Things We Create and How They Love Us Back by Jeff Tweedy Zoey Punches the Future in the Dick by David Wong  Finding Your Harmony: Dream Big, Have Faith, and Achieve More Than You Can Imagine by Ally Brooke Wishes and Wellingtons by Julie Berry Lived Experience: Reflections on LGBTQ Life by Delphine Diallo The Sisters of Straygarden Place by Hayley Chewins  Black Sun (Between Earth and Sky) by Rebecca Roanhorse How to Decide: Simple Tools for Making Better Choices by Annie Duke American Utopia by David Byrne and Maira Kalman A Time for Mercy by John Grisham Christmas with Kim-Joy: A Festive Collection of Edible Cuteness by Kim-Joy The Blind Light: A Novel by Stuart Evers  Chance: A Memoir by Uri Shulevitz A Stitch in Time by Kelley Armstrong The Call Me Ishmael Phone Book: An Interactive Guide to Life-Changing Books by Logan Smalley and Stephanie Kent  People You Follow: A Memoir by Hayley Gene Penner The Lost Love Song: A Novel by Minnie Darke Three Little Truths by Eithne Shortall Big Wednesday (Deluxe Anniversary Edition) by Denny Aaberg, John Milius Long Way Down: The Graphic Novel by Jason Reynolds and Danica Novgorodoff This is All Your Fault by Aminah Mae Safi The Upswing: How America Came Together a Century Ago and How We Can Do It Again by Robert D. Putnam The Heartbeat of Iran: Real Voices Of A Country and Its People by Tara Kangarlou Friends and Enemies: A Life in Vogue, Prison, & Park Avenue by Barbara Amiel  Culture Warlords: My Journey Into the Dark Web of White Supremacy by Talia Lavin Daughters of Jubilation by Kara Lee Corthron The Redshirt: A Novel by Corey Sobel A Lover’s Discourse by Xiaolu Guo Too Many Times: How To End Gun Violence in a Divided America edited by Melville House Invisible Girl: A Novel by Lisa Jewell Attack Surface by Cory Doctorow Simmer Down by Sarah Smith  She Come By It Natural: Dolly Parton and the Women Who Lived Her Songs by Sarah Smarsh  Shelter in Place by David Leavitt All Lara’s Wars by Wojciech Jagielski, Antonia Lloyd-Jones (translator) The Last Interview: A Novel by Eshkol Nevo, Sondra Silverston (translator) You Know I’m No Good by Jessie Ann Foley What Tech Calls Thinking: An Inquiry into the Intellectual Bedrock of Silicon Valley (FSG Originals x Logic) by Adrian Daub Absolution: A Novel by Regina Buttner Negotiations by Destiny O. Birdsong The Historians: Poems by Eavan Boland  Blood Runs Coal: The Yablonski Murders and the Battle for the United Mine Workers of America by Mark A. Bradley Goodnight Beautiful: A Novel by Aimee Molloy Midnight Train to Prague: A Novel by Carol Windley Mellybean and the Giant Monster by Mike White The Long Shadow by Anne Buist The Land by Thomas Maltman The Lost Shtetl: A Novel by Max Gross Wave If You Can See Me by Susan Ludvigson Cat Ninja by Matthew Cody, Yehudi Mercado The Butterfly Effect: How Kendrick Lamar Ignited the Soul of Black America by Marcus J. Moore  Cinders and Sparrows by Stefan Bachmann Lightbringer (The Empirium Trilogy) by Claire Legrand The Puppetmaster’s Apprentice by Lisa DeSelm Winter, White and Wicked by Shannon Dittemore Wishes and Wellingtons by Julie Berry The Tindalos Asset by Caitlín R. Kiernan Dracula, Motherf**ker by Alex de Campi, Erica Henderson  Coconut & Sambal: Recipes from my Indonesian Kitchen by Lara Lee Ghostland: In Search of a Haunted Country by Edward Parnell   Beyond the Ruby Veil by Mara Fitzgerald The Magic Fish by Trung Le Nguyen We Saw Scenery: The Early Diaries of Merrill Markoe by Merrill Markoe All About Us by Tom Ellen The Emperor’s Wolves (The Wolves of Elantra Book 1) by Michelle Sagara  Come On In: 15 Stories about Immigration and Finding Home by Adi Alsaid  The Truth Project by Dante Medema Jeeves and the Leap of Faith: A Novel in Homage to P. G. Wodehouse by Ben Schott Above All Else by Dana Alison Levy The National Road: Dispatches From a Changing America by Tom Zoellner Meteorite: How Stones from Outer Space Made Our World by Tim Gregory Gambling with Armageddon: Nuclear Roulette from Hiroshima to the Cuban Missile Crisis, 1945-1962 by Martin J. Sherwin Maids by Katie Skelly Concrete Kids (Pocket Change Collective) by Amyra León Ramifications by Daniel Saldaña París, Christina MacSweeney (translato Dance We Do: A Poet Explores Black Dance by Ntozake Shange Phoenix Extravagant by Yoon Ha Lee Ghosts by Dolly Alderton  Revolutions of All Colors: A Novel by Dewaine Farria See omnystudio.com/listener for privacy information.

Il Futurismo russo e Vladimir Majakovskij. Guillaume Apollinaire, Alcools e Calligrammi. Tristan Tzara e il Dadaismo. Analisi e commento del Manifesto del Dadaismo. Andre Breton e il Surrealismo. Analisi e commento del Manifesto del Surrealismo. --- Send in a voice message: https://anchor.fm/gabriele-peretti/message

In which Cass & Alex discuss Penguin Highway, directed by Hiroyasu Ishida and produced by Studio Colorido, based on the novel by Tomihiko Morimi. Next month we will be discussing Kare Kano, directed by Hideaki Anno and Hiroki Sato and produced by Gainax and J.C. Staff. Discussed: facing the firing squad, Alex Did Not Like This Movie, The Book Of Henry, a nerdy fourth grader with a harem, Alex And Cass Actually Yell At Each Other and Get Into A For Real Fight, Alex And Cass Consider Not Doing The Podcast After All, Andre Breton, heterosexual romance, the end of Parasite (no spoilers), The Ghost of Anime Past, defensive pessimism, defensive optimism, "i don't hate children! i don't hate children!" alex continues to insist as she slowly shrinks and transforms into a corn cob, That Fucking Social Link In Persona 3 Where That Teenager Wants To Fuck His Teacher, wish fulfillment, Bridge to Terabithia, metaphysical ambitions, ahoge, earthbound dad, Haruki Murakami, Cass realizes that it's more than an hour into the podcast and they haven't even begun to summarize the plot,the very very old Ashens POP Station video, "Seaside Town" by Baths, The Evangelion Extended Universe, Kiki's Delivery Service, Chrono Cross, kids who wore a suit to school, fedoras, people wearing zoot suits and chain wallets in the 90s, the 90s swing revival, the terrible Baz Luhrmann Great Gatsby, how Penguin Highway compares to other racing anime, Free!, Haikyuu!!, Hanebado!, Ping Pong: The Animation, don't make video games, Bertrand Russell, Paul Feyerabend, epistemological anarchism, Cantor's Diagonal Argument (great explanation by vi hart), What The Tortoise Said To Achilles by Lewis Carroll, David Lewis, Ludwig Wittegenstein, Cass left in the long deliberation about what to watch next month because they just don't care anymore, One Hundred Years Of Solitude Cass's book recommendation: The Origin of Capitalism: A Longer View by Ellen Meiksins Wood Alex's book recommendation: The Plague by Albert Camus Social: Show Twitter: @animeisforjerks Show Mastodon: @animeisforjerks@skeleton.cool Show Email: animeisforjerks@gmail.com Cass's Twitter: @prophet_goddess Cass's Mastodon: @prophet_goddess@skeleton.cool Alex's Twitter: @dunndunndunn Alex's Mastodon: @catalina@selfy.army

This week Kav is joined by Timothy Nelson one of Perth's premier songwriters today. This episode includes an unprecedented move, the use of a second Hat to create the lyrics In the style of cut-ups and surrealist legends Tristan Tzara the lyrics will be created on the spot at Kavs studio in Fremantle, Western Australia.[00:06:15] when do the ideas come?[00:10:30] Let the game begin[00:16:00] In an unprecedented move in HatJam we have a second hat to pull the lyrics out of much like how Andre Breton used cut ups. [00:35:45] How we got to the final resultyou can find Timothy Nelson on Facebook https://www.facebook.com/timothynelsonofficial/Instagram @timothynelsonmusicKav's Twitter @kavtemperleyKav's Facebook facebook.com/kavtemperleyKav's Instagram @kavtemperleyHatJam Facebook facebook.com/HatJam-PodcastHatJam Instagram @hatjam_podcastKav's Website kavtemperley.com.auPlanet's Website planetbroadcasting.com See acast.com/privacy for privacy and opt-out information.

"It's too bad that our society doesn't give more value to this idea of having mentors." -Andre

In 1919, two competing art movements went head-to-head in Paris. One was the Return to Order, a movement about purity and harmony. The other was Dada, a movement about chaos and destruction. Their collision would change the trajectory of Western art. Hugo Ball established the Cabaret Voltaire in Zurich, where Dada came to life in February 1916. In this photo, he's dressed in his "magic bishop" costume. The costume was so stiff and ungainly that Ball had to be carried on and off stage. You can hear the entire text of Ball's "Karawane" on Youtube (https://www.youtube.com/watch?v=z_8Wg40F3yo). You can also read the text (https://poets.org/poem/karawane). Marcel Duchamp arrived in New York to a hero's welcome, a far cry from the disdainful treatment he was receiving in France. He was hailed for his success at the 1913 Armory Show, where his painting "Nude Descending a Staircase" was the hit of the show. "Nude Descending a Staircase" was considered radical art, but it was still oil paint on canvas. Duchamp would soon leave even that much tradition behind. Francis Picabia was handsome, rich, dashing, and about as faithful as an alley cat. That he wasn't court martialed for neglecting his diplomat mission to Cuba for artistic shenanigans in New York was entirely due to his family's wealth and influence. He was also well known in New York for his visit there during the Armory Show. Picabia abandoned traditional painting for meticulous line drawings of mass-produced items, including this work, titled "Young American Girl in a State of Nudity." Duchamp horrified New Yorkers when he presented "Fountain" to an art exhibit as a work of sculpture. A urinal may not seem particularly shocking now, but it violated any number of taboos in 1917. While "Fountain" is generally atttributed to Duchamp, it is possible, although by no mean certain, that it was actually created by the Baroness Else von Freytag-Loringhoven. A German ex-pat, she was creating art out of ready-made objects more than a year before Duchamp and lived her life as a kind of non-stop performance art. Whatever her role in "Fountain," she deserves to be better remembered as a pioneering modernist. After he returned to Europe, Picabia's art became less disciplined and more outlandish. He titled this ink-blot "The Virgin Saint." Picabia also published a Dadaist journal, in which he published this work by Duchamp. It's a cheap postcard of the "Mona Lisa" to which he added a mustache. The title "L.H.O.O.Q. is a pun in French; it sounds like "she has a hot ass." Tzara and other Dadaists in Paris devoted themselves to events and performances. This is a handbill for a "Festival Dada" that took place on May 26, 1920. Tzara and Picabia are listed as performing, along with several other prominent Dadaists including Andre Breton, Louis Aragon, and Paul Eluard. These evenings became increasingly frantic and nihilistic as Dada wore on. By 1919, Pablo Picasso part of the artistic establishment and no longer a radical on the edges of society. In 1911/1912, Picasso paintings looked like this--this is "Ma Jolie," a dense, complicated, frankly intimidating Cubist painting. Ten years later, he painted this work, Woman in White. With its clarity, beauty, and nods to tradition, it is a prime example of Picasso's embrace of neo-classicism after the Great War. The impulse to create clear, simple, ordered art existed in many European countries. In the Netherlands, Piet Mondrian worked in the Neoplasticist movement creating his iconic grid paintings. This is "Composition No. 2" from 1920. At the same time, in Germany the Bauhaus was established. As a school of arts and crafts, it taught a stripped-down, clean aesthetic that applied to everything from architecture to furniture design, industrial design to graphic design. This poster advertising a 1923 exhibition is a good example of Bauhaus design and typography. The Surrealist movement arose out of Dada's ashes in the mid- to late-1920s. It combined the traditional painting technique of neo-Classicism with the bizarre imagery of Dada. Salvador Dali's "Persistence of Memory," for example, is a technical masterpiece, with masterful execution. It's also impossible and, frankly, disturbing. T.S. Eliot's "The Waste Land" gives the impression of randomness, of lines picked out of a coat pocket. In fact, it is painstakingly constructed and shows as much technical skill as Dali's clocks. You can read the poem (https://www.poetryfoundation.org/poems/47311/the-waste-land), or listen to Alec Guinness read it (https://www.youtube.com/watch?v=Hcj4G45F9pw)--or maybe do both at the same time. This meme was created in 2013 by cartoonist KC Green. It captures the Dadaist attitude that shows up in popular culture a great deal here in 2019--a sense that the world is really weird right now. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.

La mayoría de las veces es información, no una advertencia sobre un evento o desastre, y es muy confiable. En su trabajo de esos años, exploró el inconsciente y el papel de los sueños en la poesía lírica. El poeta Andre Breton quedó especialmente impresionado con la capacidad de Desnos para entrar en estado de trance y practicar la "escritura automática". Se llama "automática" porque esta actividad ocurre fuera del control consciente de la persona que recibe la información. Consideremos este relato…

This week we are talking about writing poems in a persona, and what it shows us about how poetry and identity work in general. We read poems by Ezra Pound, Adrienne Rich, James Tate, and Andre Breton.

The 'emergency rescue committee' was set up by a group of American and exiled German liberals during the Second World War to help save some of Europe's leading intellectuals and artists from the Nazis. Among those the group rescued from German-occupied France were artists Marc Chagall and Max Ernst, surrealist leader Andre Breton and German novelist Heinrich Mann. Louise Hidalgo has been hearing from Justus Rosenberg who worked for the committee and had his own narrow escape from the Nazis.Picture; Justus Rosenberg on the streets of Marseille in the early 1940s (credit: Justus Rosenberg)

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes...

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Prague, according to Derek Sayer, is the place “in which modernist dreams have time and again unraveled.” In this sweeping history of surrealism centered on Prague as both a physical location and the “magic capital” in the imagination of leading surrealists such as Andre Breton and Paul Aluard, Sayer takes the reader on a thematic journey from the beginning of the 20th century to the immediate post-war era. In this interview, Sayer talks about why surrealism – and, more importantly, why Prague – is central to understanding the 20th century and modernism. Through works of literature and works of architecture, Sayer demonstrates how Czech modernists pluralized visions of what modernist art should be. These Czech artists and architects were largely ignored in post-World War II exhibitions and histories of surrealism and modernism. With this book, Derek Sayer returns them to their proper place in the narrative. Prague, Capital of Twentieth Century: A Surrealist History (Princeton University Press, 2013) received the 2014 George L. Mosse Prize from the American Historical Association. The prize is awarded annually for an outstanding major work of extraordinary scholarly distinction, creativity, and originality in the intellectual and cultural history of Europe since the Renaissance. The book also received an honorable mention for the 2014 Wayne S. Vucinich Book Prize, awarded to the “most important contribution to Russian, Eurasian, and East European studies in any discipline in the humanities or social sciences,” by The Association for Slavic, Eastern European, and Eurasian Studies (ASEEES). Learn more about your ad choices. Visit megaphone.fm/adchoices

Born near Mexico City in 1907, Frida Kahlo is considered one of Mexico's greatest artists. She took up painting after a bus accident left her severely injured, was a Communist, married Diego Rivera, a celebrated muralist, became friends with Trotsky and developed an iconic series of self-portraits. Her work brings together elements such as surrealism, pop culture, Aztec and Indian mythology and commentary on Mexican culture. In 1938, artist and poet Andre Breton organised an exhibition of her work in New York, writing in the catalogue, "The Art of Frida Kahlo is a ribbon around a bomb." She was not as widely appreciated during her lifetime as she has since become, but is now one of the most recognised artists of the 20th century. With Patience Schell Chair in Hispanic Studies at the University of Aberdeen Valerie Fraser Emeritus Professor of Latin American Art at the University of Essex And Alan Knight Emeritus Professor of the History of Latin America at the University of Oxford Producer: Simon Tillotson.

Born near Mexico City in 1907, Frida Kahlo is considered one of Mexico's greatest artists. She took up painting after a bus accident left her severely injured, was a Communist, married Diego Rivera, a celebrated muralist, became friends with Trotsky and developed an iconic series of self-portraits. Her work brings together elements such as surrealism, pop culture, Aztec and Indian mythology and commentary on Mexican culture. In 1938, artist and poet Andre Breton organised an exhibition of her work in New York, writing in the catalogue, "The Art of Frida Kahlo is a ribbon around a bomb." She was not as widely appreciated during her lifetime as she has since become, but is now one of the most recognised artists of the 20th century. With Patience Schell Chair in Hispanic Studies at the University of Aberdeen Valerie Fraser Emeritus Professor of Latin American Art at the University of Essex And Alan Knight Emeritus Professor of the History of Latin America at the University of Oxford Producer: Simon Tillotson.

Don Traxler, translator of the work of Maria de Naglowska, deceased Russian occultist, mystic and founder of the Brotherhood of the Golden Arrow,  is with us tonight to discuss Maria's scope of work on the theme of Sex Magic or  Initiatic Eroticism and Other Occult Writings.  We'll talk about the Third Term of the Trinity, "hidden meanings" and the "importance of sex for the upliftment of humanity"  For more on Maria, she held conferences in Paris in the 1930sattended by many now famous avant-garde and notorious writers and artists of the day such as Julius Evola, Man Ray and Andre Breton.  She is the author of The Light of Sex, Advanced Sex Magic and The Sacred Rite of Magical Love.  Donald, a translator and student of the occult, living and calling from Uruguay, will enlighten us on her work. In the second half of the show, Peter Levenda, author of the beautiful coffee table book, Tantric Temples: Eros and Magic in Java is with us discussing how Tantra is one of the most misunderstood of the esoteric disciplines.  In order to get clear on the real nature of Tantric ritual and belief, Peter takes us to where it's still practiced and from where important Tantric teachings originated a thousand years ago - the island of Jave in present-day Indonesia.  We'll discover how Tantra influenced secret socieites, mystics, alchemists, Kabbalists and magicians for thousands of years and how human secuality became a metaphor and template for both spiritual transformation and themanipulation of reality; of how various sexual acts and psycho-biological states became the basis for comprehensive cosmology that incorporates every aspect of human experience.

Andre Breton raccontato da Daria Galateria

love, always love.