Podcasts about atlantic center

*Trigger warning* In this episode there are mentions of sexual assault, body image issues and abusive relationships. If you're not in a space right now to listen, please pause this episode and return to it when/if it feels aligned. Take care of yourself first, friends.WHAT'S NEWStay notified on Petey & Sarah's retreats to awaken your spiritual and somatic intuition! Visit www.souljourneysretreats.com or IG @souljourneysretreats.Join Sarah for Group Ketamine Assisted Psychotherapy (KAP) Journeys in Orlando through The Stillpoint. To learn all about how this medicine works to uproot painful parts and rewire thoughts, tune into Episode 107 as Dr. Eric Milbrandt shares how KAP is transforming mental health issues. For more information, fill out this form! Thank you to our advertiser, Dr. Bethany Padgett of Whole Hearted Holistic Solutions. Mention “Therapy Unfiltered” to receive a 25% discount on her Mind, Body & Spirit Package! www.wholeheartedlyyours.org TODAY'S EPISODESamantha Tribble is a New Smyrna Beach native, entrepreneur, and advocate for empowering women through boudoir photography. A Stetson University graduate, she co-founded Lunar Studio with her husband. Stephen, creating a space where clients embrace their authentic selves through elevated photography experiences.Samantha's work fosters confidence, self-love, and empowerment for women at all stages of life. Through her passion project, The Empowering Portrait, she photographs and shares the stories of women battling or surviving cancer, using her art to inspire strength and solidarity. Recognized as a 2024 40 Under Forty Young Small Business Professional of the Year. honoree. Samantha continues to make an impact as an entrepreneur, photographer, and advocate for women.For our listeners when you mention the code “THERAPY UNFILTERED”! $200 off a boudoir session fee & $100 of a headshot session. Stay connected with Lunar Studio! https://www.lunarstudionsb.com/https://www.facebook.com/groups/BoudoirbyLunarStudio/ https://www.instagram.com/thelunarstudio/# Join Samantha at one of her events! 4/30/2025: Women's Dinner at Cafe Verde, New Smyrna Beach 3/7/2026: Divine Feminine Gala at Atlantic Center for the Arts LET'S STAY CONNECTED! Petey | www.peteysilveira.com | @peteysilveira Sarah |www.heysarahburnett.com | @heysarahburnett TODAY'S AFFIRMATIONI release and shed past limiting beliefs so I may step forward into my confident and empowered self.TODAY'S ORACLE CARDS: Be Strong. You are stronger than you think you are, and your strength assures a happy outcome.Expect a Miracle. Have faith that your prayers have been heard and are being answered.Boundaries. Love yourself enough to say no to others' demands on your time and energy. Thank you for subscribing, rating, reviewing, sharing and reposting the show! I appreciate each and every one of you! ⭐️⭐️⭐️⭐️⭐️

Soundscape Alchemy.Friends, what an episode I have for you today! Months ago, I took an impromptu trip to Canaveral National Seashore to visit acoustic artists Perri Lynch Howard and Gordon Hempton.Frequent collaborators on the podcast, I was ecstatic to spend a weekend practicing the art of listening with them both. We walked mangroves, explored shorelines, and discussed the interplay of human voice, aerospace traffic, and birdsong.The creative collaboration of Gordon and Perri resulted in a stunning piece of environmental art titled, “Hear Me Out.” Join me today for a discussion of what it means to listen with honesty, to weave ourselves into the natural world we inhabit, and to move “in close proximity to lifelong love.”In this episode, Perri and Gordon delve into their experiences during their artist residency at Canaveral National Seashore through the Soundscape Field Station Artist Residency Program. The conversation highlights their collaborative project 'Hear Me Out', which investigates the changing soundscapes and their artistic interpretations influenced by the environment. They share their journey of recording, the emotional challenges faced, and how Doris Leeper's legacy inspired their work. The discussion also touches on the significance of natural sound preservation and future projects related to soundscapes and environmental art.At the end, pop in your headphones, close your eyes, and listen to “Hear Me Out.”Gordon HemptonAcoustic ecologist Gordon Hempton has circled the globe three times in pursuit of the Earth's rarest sounds. His sound portraits which record quickly vanishing natural soundscapes have been featured in People magazine and a national PBS television documentary, Vanishing Dawn Chorus, which earned him an Emmy. Hempton provides professional audio services to mediaproducers, including Microsoft, Smithsonian, National Geographic and Discovery Channel. Recipient of awards from the National Endowment for the Arts and the Rolex Awards for Enterprise he is co-author of One Square Inch of Silence: One Man's Quest to Preserve Quiet (Free Press/Simon & Schuster, 2010) and Founding Partner of Quiet Parks International.https://soundtracker.com/Perri Lynch HowardPerri Lynch Howard is a multi-disciplinary artist working in painting, drawing, installation, and sound. Her visual work and sound installations convey the passage of light, sound, and signal through landscapes on the front lines of climate change - a phenomenology of place. Howard received her BA from The Evergreen State College, BFA from the University of Washington, and MFA from Cranbrook Academy of Art. Her art has a global reach through projects completed in Italy, Portugal, Brazil, Canada, the Arctic Circle, and in South India as a Fulbright Senior Research Scholar.https://www.perrilynchhoward.com/Thank you to Nick McMahan for today's sound design and editing; and thank you to Brianna Nielsen for production and editing support. Find them at:nickmcmahan.cominstagram.com/brianna_podcastproLastly, thank you to Atlantic Center for the Arts and the ACA Soundscape Field Station for making this collaboration possible.https://atlanticcenterforthearts.org/home/soundscape-field-station/Watch on YouTube, Make a donation, or learn more about my free offerings and live classes by visiting merylarnett.cominstagram.com/merylarnettyoutube.com/@ourmindfulnature

Scott Hulet, editor, author, and spring keeper, dives into some early, middle, and remaining days with a new book out. Flow Violento can be found for purchase at The Surfer's Journal website. He has worked with the journal as well as other publications for over 25 years. We complete the circle here, finally, with a sit down at Atlantic Center for the Arts. Enjoy this casual reminder that Scott has somehow figured out how to make a life out of reading and writing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. Today, Emily chats with Patrick Martinez, a mixed media visual artist from Los Angeles.About Artist Patrick Martinez:Patrick Martinez maintains a diverse practice that includes mixed media landscape paintings, neon sign pieces, cake paintings, and his Pee Chee series of appropriative works. The landscape paintings are abstractions composed of Los Angeles surface content; e.g. distressed stucco, spray paint, window security bars, vinyl signage, ceramic tile, neon sign elements, and other recognizable materials. These works serve to evoke place and socio-economic position, and further unearth sites of personal, civic and cultural loss.Patrick's neon sign works are fabricated to mirror street level commercial signage, but are remixed to present words and phrases drawn from literary and oratorical sources. His acrylic on panel Cake paintings memorialize leaders, activists, and thinkers, and the Pee Chee series documents the threats posed to black and brown youth by law enforcement.Patrick Martinez (b. 1980, Pasadena, CA) earned his BFA with honors from Art Center College of Design in 2005. His work has been exhibited domestically and internationally in Los Angeles, Mexico City, San Francisco, Minneapolis, Miami, New York, Seoul, and the Netherlands, and at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Brooklyn Museum, Crystal Bridges Museum of American Art, the Studio Museum in Harlem, the Smithsonian National Portrait Gallery, the Smithsonian NMAAHC, the Tucson Museum of Art, the Buffalo AKG Museum, the Columbus Museum of Art, the Vincent Price Art Museum, the Museum of Latin American Art, the Crocker Art Museum, the Rollins Art Museum, the California African American Museum, the Nerman Museum of Contemporary Art, and El Museo del Barrio, among others.Patrick's work resides in the permanent collections the Whitney Museum of American Art, the Broad Museum, Crystal Bridges Museum of American Art, the Museum of Contemporary Art Los Angeles (MOCA), the Rubell Museum, the Smithsonian National Museum of American History, the California African American Museum, the Autry Museum of the American West, the Benton Museum of Art at Pomona College, the Nerman Museum of Contemporary Art, the Smithsonian National Museum of African American History and Culture, the Los Angeles County Museum of Art (LACMA), the Tucson Museum of Art, the Pizzuti Collection of the Columbus Museum of Art, the University of North Dakota Permanent Collection, the JPMorgan Chase Art Collection, the Crocker Art Museum, the Escalette Permanent Collection of Art at Chapman University, the Manetti-Shrem Museum of Art at UC Davis, the Rollins Museum of Art, and the Museum of Latin American Art, among others.Patrick was awarded a 2020 Rauschenberg Residency on Captiva Island, FL. In the fall of 2021 Patrick was the subject of a solo museum exhibition at the Tucson Museum of Art entitled Look What You Created. In 2022, Patrick was awarded a residency at the Atlantic Center for the Arts. This year, Patrick's suite of ten neon pieces purchased by the Whitney Museum of American Art is on yearlong exhibition installed in the Kenneth C. Griffin Hall in the entrance of the Museum. In September 2023, Patrick opened a solo exhibition at the ICA San Francisco titled Ghost Land and in November of 2023 Patrick will exhibit in Desire, Knowledge, and Hope (with Smog) at The Broad Museum in Los Angeles, CA. Patrick will be the subject of an expansive solo exhibition at the Dallas Contemporary opening in April 2024. Patrick lives and works in Los Angeles, CA and is represented by Charlie James Gallery, Los Angeles.CLICK HERE to see more of Patrick's work. Follow Patrick on Social Media: @Patrick_Martinez_StudioFor more info on his Ghost Land Exhibit, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

The Atlantic Center for Capital Representation was founded in 2010, in Philadelphia.  The Center provides advice and counsel in death penalty cases around the country, as well as in federal death cases, and represents the Government of Mexico in death penalty cases involving Mexican nationals here in the United States. Justin and Geonard interviewed the Center's co-founder and Executive Director, Marc Bookman, and the President of its Board of Directors, Patrick Egan. Marc and Pat are long-time members of the Philadelphia criminal defense bar, and have, themselves, litigated numerous death penalty cases.  Marc is also the author of the recently published book by The New Press, called a Descending Spiral: Exposing the Death Penalty in 12 Essays.  Marc has also published in The Atlantic, and Slate, among other publications.  

In this episode, co-hosts Linda Lane Gonzalez and Kathryn Garcia Castro are entertained by Amelia Bethel & Karen Loewy Movilla as they perform during the interview some of the characters they embody in “Tia Talk,' their theatrical collaboration where they try to prove their Latinidad to themselves and the audience by embodying every stereotype they have been fed by the media, their peers, and even their families.The uniqueness of the show also brings in different guests for each performance to hear another point of view and also allow the audience to participate in the show.Special thanks to Liz Lombardi, Publicist at Matt Ross Public Relations for her help in arranging this interview.  We also want to thank the band PGM for the use of its song, “April” as The Revolucion theme.Amelia Bethel is a theater artist whose work confronts the performance of identity and the materiality of the body, with a focus on sexuality and a mixed-race experience. She can be heard as Marisol on the award-winning podcast Unwell: A Midwestern Gothic Mystery from HartLife Studios. Amelia is a former associate artist in residence with poet Tracie Morris and playwright Sibyl Kempson at the Atlantic Center for the Arts, and received her MFA in Theatre from Sarah Lawrence College.Karen Loewy Movilla is a Colombian artist based in New York City. She's interested in the question of: How do we take up space, when it is not freely given? Combining digital media, embodiment, spoken word, and puppetry she confronts inherent biases, and oppressive systems. She's this year resident at Object Movement Puppetry Residency 23', a 2021 MFA graduate of Sarah Lawrence College and a 2026 Scenic Design Candidate at Yale University. Find more about her at: https://www.karenloewymovilla.com/#tiatalk #thetanknyc #tias #stereotypes  #conversations #collaborators #femalestereotypes #thetanknyc #mattrosspr  @revolver_podcasts @thetanknyc @mattrosspr

Joseph Byrd reads his poem, "Prayer for a Prisoner," and Lucy Bell introduces her art, "The Mythology of Memory," featured in our Summer 2023 issue. Joseph Byrd's work has appeared or is forthcoming in Punt Volat, Pedestal, South Florida Poetry Journal, DIAGRAM, Clackamas Literary Review, Many Nice Donkeys, and Novus Literary Arts. He's a Pushcart Prize nominee, was long-listed for the Erbacce Prize, and was in the StoryBoard Chicago cohort with Kaveh Akbar. An Associate Artist in Poetry under Joy Harjo at the Atlantic Center for the Arts, he is on the Reading Board for The Plentitudes. Lucy Bell is an artist based in Northern California. She is primarily a painter but also utilizes textiles and clay to convey her ideas. After receiving her BFA from UC San Diego, Bell's work has been published internationally and throughout the US. She has had work shown along the West Coast, notably in San Francisco, Santa Cruz, and San Diego. --- Send in a voice message: https://podcasters.spotify.com/pod/show/vita-poetica/message Support this podcast: https://podcasters.spotify.com/pod/show/vita-poetica/support

Note: the podcast recording was improvised based on this script and therefore has additional material.This 127th episode of the conscient podcast marks the halfway point of season 4, which, as you might recall, is called Sounding Modernity and explores what modernity might sound like, how it affects us and what we can do about it.. Maybe…A heads up that this episode is 57 minutes in duration because it is part of the ‘afield' series of framework radio in Estonia. The season began on January 1 with e101 tension:(Beginning of e101)I was thinking about the tensions in our lives and the art of finding balance points… So I went for a sound walk in Vancouver and came upon a piece of fishing line. I brought it home, strung it up and recorded myself plucking it…(cross fade to the end of e101)Listeners might recall that each episode this season ends with a question:How do you feel now?‘How do you feel now' is actually at the heart of this project. How do one perceive the sounds of our modern world? What does it feel like to absorb these sounds into our bodies? How can we change the way we listen?  How can we move away from the madness of modernity? And if, tragically, we are unable to step away, at the very least, how can we help prepare future generations for what is coming? How can art help? How can listening help? Are we helpless?(Silence then ocean sounds) I've received some interesting responses and reactions to the first 26 episodes and 6 blogs of the project so far, in various forms and channels, for example, this poem from artist and educator Carolina Duque (also known as Azul), submitted on January 3, 2023, about her experience with e101 tension :I walked down the sea line of San Andrés Island, in the Caribbean, as I listened.ListenedFelt the tensiontensIonI grew up on this island. I notice the shoreline getting smaller.I notice the corals turning grey. I notice the buildings growing taller. The overlapping reggaeton and vallenato music from competing speakers.I notice everything getting louder.I notice theTens – ion.I notice the menus saying fish is scarce.I noticeIn my lungs the tension. In my eyes the tension.In my waves, in my feet.The tension.(Ocean sound fade out)My response : I was reading Jenny Odell's ‘How To Do Nothing' book today and came upon this sentence that relates to your response. I quote: ‘I hold up bioregionalism as a model for how we might begin to think again about place' (end of quote), which to me means that we need to be stewards of the land, wherever we are, in collaboration with all living beings. I documented almost all of the feedback I received from listeners in my monthly conscient blog on conscient.ca. I am grateful for these gifts of knowledge and insight. (e102 aesthetics)Most episodes in this podcast are about the relationship between art and the ecological crisis. For example, in e102 aesthetics:The problem with beauty is that it can distract us from reality. Sit with me, please, take a moment. Sit and listen…I've also integrated soundscape compositions in and around the narrative, for example, from e103 heat:(end of e103)This thing is smart. Everything talks to each other. I would just leave it on auto and let it choose what it wants to do.  What does decarbonization sound like to you?How do we decarbonize our lifestyles? One way is to rethink the way we use energy in day to day life, for example, in e110 - drain, I talk about water : (beginning of e110)It goes down the drain (again) and into the sewer system to be processed and dumped into the Ottawa river, then it evaporates into the sky and it rains back into our lakes and rivers, bringing with it with many pollutants, and then is pumped into our homes, in our bodies and heated until… A friend, artist Maria Gomez, shared this response to e110 on March 6:Only the water doesn't stay in the Ottawa region, as it travels south in the moist of the clouds all the way to the Patagonia glaciers, and in ocean currents to Asia and its skies and then it travels up the Arctic… the water I bathe in contains my cells that are distributed around the world, and particles from the world touch me in the water.I responded:It's true that water travels in us, through us and beyond. The sound of water can be either pleasant or a signal of danger but either way we need to listen and understand the language of water…Some episodes call upon quotes from previous episode such as photographer Joan Sullivan in e96 from season 3 which I used in e106 fire : (near the end of e106)And it suddenly dawned on me that I, my hands, weren't shaking up because of the cold, but because of an anger, you know, this deep, profound anger about our collective indifference in the face of climate breakdown. Wait, we're just carrying on with our lives as if you know, la la la and nothing, nothing bad happening. So there was this sense of rage. I mean, like, honestly, it's surprising how strong it'd be in a violent rage just sort of coming outta me. I wanted to scream, and I just, you know, took my camera and just moved it violently, right? Left up, down the, and almost, I suppose, it was almost like I was drowning in the water. You know, my arms are just doing everything. And I was holding down the shutter the whole time, you know, 20, 30, 40 photos at a time. And I did it over. And oh, I was just, I was just, I was just beside myself. And you know, you at some point, you just stop and you're staring out at the river. And I just felt helpless. I just didn't know what to do…I hear you dear Joan. I also do not know what to do.I also called upon climate activist and politician Anjali Appadurai from e23 in season 2 in e114 :(middle section of e114 privilege)Privilege can go back as far as you wanted to go back, right? And of course it's so nuanced. It's not every white guy has this much privilege, but you do have a privilege that goes back hundreds of years and I think one aspect of privilege, one that a lot of people leave out, is this economic aspect, right, of class and resources. And that is not often talked about in the climate conversation, but it's a huge piece of it. Because when we talk about the extinction of our species, this extinction doesn't happen overnight. It happens in a spectrum. Who are the last ones standing? Those with the most resources and who are the first ones to go? It's those with the least, the most disenfranchised. So I don't think you can talk about climate without talking about privilege ultimately. And I think it's on each of us to unpack that for ourselves and to bring that into the conversation.(field recording of natural soundscape from Florida)The most ambitious episode so far has been e112 listening, which I presented as my keynote speech at the World Forum for Acoustic Ecology (WFAE) conference Listening Pasts - Listening Futures, in Florida. It actually runs for over 10 minutes so I broke my own rule here of having only 5 minute episodes but I decided to go with the flow when an episode needed more time. Why not? Here the final sequence from e112: (from the end of e112)Conclusion 5 :  connect our effortsTodd Dufresne, e19: ‘Whoever survives these experiences will have a renewed appreciation for nature, for the external world, and for the necessity of collectivism in the face of mass extinction.'Asad Rehman, Green Dreamer podcast (e378) : ‘Our goal is to keep our ideas and policies alive for when the politically impossible becomes the politically inevitable'. George Monbiot, tweet November 13, 2021 :  ‘We have no choice but to raise the scale of civil disobedience until we have built the greatest mass movement in history.'My question to you is ‘how can listening help'?During the performance I walked out of the room at the Atlantic Center for the Arts in New Smyrna Beach around the building asking that same question :How can listening help?(Recording from live performance of my keynote) Each episode of this season has a different aesthetic, a different style, depending on my inspiration, mood and what I am learning or unlearning on any given week. For example, some episodes feature unedited field recordings, such as the subway in Montreal in e120 metro where I invite you, the listener, to sit with the sound and let it speak to you, as if the sound were a living entity, which, I think, it is.(beginning of e120)Sometimes we just have to stop and listen. Without passing judgement. Just listen…. Sometimes we just have to stop and listen.Another example is the sound of freezing rain on a canopy of hard snow in a frozen forest in e122 quiet:(middle of e122)I suspect this one might seem a bit boring for some listeners because not much happens, but I enjoy listening to quiet spaces and tuning into more subtle sonic patterns and layers of sound and silence.(end of e122)When I launched Sounding Modernity in December 2022 I wrote that my intention was to :Address some of the causes of this massive and violent overreach of planetary boundaries but also to explore how we can preserve some of modernity's benefits, without the destruction.In retrospect I realise this was a very ambitious goal but also pretentious and sometimes naive. I soon realized that failure was not only inevitable but necessary in order to experience boundaries and limitations.Here's a quote from the Gift of Failure teaching by the Gesturing Towards Decolonial Futures collective in my February blog :We chose the word “gesture” for the title of our collective to underscore the fact that decolonization is impossible when our livelihoods are underwritten by colonial violence and unsustainability. The food we eat, the clothes we wear, our health systems and social security, and the technologies that allow us to write about this are all subsidized by expropriation, dispossession, destitution, genocides and ecocides. There is no way around it: we cannot bypass it, the only way is through. How we fail is important. It is actually in the moments when we fail that the deepest learning becomes possible and that is usually where we stumble upon something unexpected and extremely useful. Failing generatively requires both intellectual and relational rigour.One of my favorite failures is e121 rumble where I impersonate a superhero, Dr Decibel, in Stanley Park in Vancouver.  It's pretty hokey and raw but I like the way it explores storytelling and fantasy.This is Dr. Decibel. Your sonic superhero on the unseated ancestral territories of the Musqueam, Squamish and Tsleil-Waututh Nations otherwise known as…  Well, I think you know where I am. (plane passing by). You have a problem here people. The low frequencies are excessive : traffic, industry, ventilation. Layers and layers of rumble and I hate rumble. Rumbleeeee is not something that I enjoy, so I'm going to use my superpowers today to reduce the amount of rumble in your city. Ruuuuumble… (imitation of rumbling sounds)(middle section of e118)Another failed episode was e118 toilet about shit. My intention here was to comment upon composting, both literally and figuratively. Vanessa Andreotti talks eloquently about shit in her book Hospicing Modernity but instead of addressing the issue head on, I took the easy way out and produced an episode with the statement ‘where does your shit go' accompanied by four recordings of toilets flushing, which does not directly address the issue, but it's a start. And, to be honest, I was attracted by the rich sound of the toilet refilling and the silence that follows when it is full, waiting to flush, again and again, precious water in a wasteful cycle of flushing away our issues…(beginning of e118 toilet)(bell and breath) where does your shit go? (toilet flush 1)On April 25 my dear father in law Robin Mathews passed away of pancreatic cancer. His illness was on mind throughout the first half of the project. I had the privilege of recording him reading his last poem, deeper into the forest, in February 2023, at his home in Vancouver, in one take. I published it 2 days before his passing in both audio and video format. Here is how e117 deeper into the forest ends: (end of e117)You know the voicesAnd you know they cannot shape wordsthat will break the surface over your head.Lights flash in the skies above, Dart through the water. But words do not form.The surface above you,Which you cannot break through.Closes….In the darkness that moves toward youAs if a living creatureThe voices fade away … or seem to fade away,And you know the surface above your headWill not break.The voices beyond the surface Will grow distant and imperfectAnd you, quite alone, will move deeper into the forest.(sound of forest from Kitchener, Ontario) I received this comment from listener Cathie Poynter, a former student and friend of Robin's, on May 8 about this episode:This is so wonderful to hear, see, feel and read. Beautifully done, the poem, the paintings, the voice, all of the sounds. It is like reaching from beyond, to tell us where, and how to move through further into the depth of the forest: of reality, life, and death. I think it is very profound. It gives me hope that we all must go on this journey. He has captured the experience I feel of time and eternity.I also wrote a one person play during this time called e111 traps, which explores some of the traps in our live :(beginning of e111)(bell, breath and occasional balloon sounds)Me : Have you ever had the feeling that you were being observed?Observer : I'm observing you. Me: Who are you and what are you observing? Observer: Ah, well, I'm a part of you and  I'm observing the traps that you tend to fall into.Me:  Traps?Observer : Do you remember the Facing Human Wrongs course you took during the summer of 2022?Me: Ya.Observer: The one about navigating paradoxes and complexities of social and global change and all those trappings along the way?Me: Ya, I remember. Easier said than done, though.Observer: YaMe: So. What are you observing? Observer : Well, what can I say? I notice that you've fallen into a trap called ‘exit fixation' which is where people feel a strong urge to walk out on an existing commitment. For example, when someone realises that the path they are on is full of paradoxes, contradictions, and complicities. Often their first response is to find an immediate exit in hopes of a more fulfilling and/or more innocent alternative or maybe even  an ideal community with whom to continue this work. Me: Like an escape?Observer: Ya, something like thatI've also had the privilege of receiving insightful feedback from listeners about the conscient podcast as a whole, such as this email on May 16 from a friend who asked to remain anonymous:So grateful to have been able to listen and stay close to your work. It's wonderful to witness, feel and sense into the different layers and movements over the course of the episode and throughout the arc of the season so far. It's almost as if the story of Sounding Modernity is being stitched by the sounds, walks and episodes and shape-shifting it into this surprising creature (sometimes scary, sometimes funny, sometimes visible, sometimes fictional…). I wonder how else the story of Sounding Modernity will further weave itself (both in/out of control) as you continue to loosen even more of your grips on it, slowly and gently. I like how humor mixes with pain and poetry mixes with interviews, and ocean mixes with toilet shitty waters. The playful and surprising diversity is fun. It's even clear that you are both struggling and having so much fun, which adds honesty and trust in wanting to go with you on the inquiry. As you approach the middle of your journey, what might be needed at this time to invite further and what might be ready to be released into new soils? May more sounds reveal/be revealed.I responded:Your point about how Sounding Modernity might unfold in/out of control is a good one as I approach the midpoint in the project on July 1. I'm coming to terms with its failings, surprises and unanticipated unlearnings. The isolation in particular has been bewildering.  I think I have already ‘lost my grip on it', in a good way. I have essentially given up on it being a ‘exploration of the sounds of modernity' - which was quite pretentious anyway - but rather, as you suggest, has become a portrait of my struggles and discoveries through the sounds of modernity.Let me expand a bit on that idea of isolation. I hoped this project might engage the arts community in dialogue with me and each other about these existential issues, which is why each episode ends with a question. It's meant to be a prompt or an invitation but not a rhetorical enquiry. My expectation was that it might interest artists and others who are in a similar frame of mind as I am, you know, dealing with eco anxiety and eco grief and so on.For example, on June 7, Jean-Marc Lamoureux wrote about episode e123 maps: When it comes to unknown possibilities for humanity, it is important to acknowledge that our knowledge and understanding of the world are limited. There are areas in science, technology, philosophy, and exploration that remain largely uncharted. New discoveries, innovations, and breakthroughs are possible in these domains and could unveil unforeseen possibilities. It is also important to note that the future is uncertain, and it is challenging to accurately predict what will unfold. Technological advancements, social and political changes, as well as unforeseen events, can all shape the future of humanity in unexpected ways. To address the uncertainty of the future and the challenges of the ecological crisis, it is crucial to foster an open, inclusive, and collaborative approach. Encouraging research, innovation, and exploration across relevant fields, as well as promoting sustainability, environmental conservation, and social justice, are essential. We must also recognize that the future of humanity is closely intertwined with our relationship with the Earth and the other living beings that inhabit it. Taking care of our planet and living in harmony with nature are vital. … Thank you for your attention and for engaging in deep reflection on these important questions.I responded:I agree that we need to keep a positive attitude and that there is much we do not know. I quote writer Rebecca Solnit in episode 19, who said ‘hope locates itself in the premises that we don't know what will happen and that in the spaciousness of uncertainty is room to act'. My point in e123 was to share my stress (and distress?) about where we are at and where we might be going. … What concerns me most is our deep disconnection with nature, which has been in the works for centuries and is killing us all. … So, Jean-Marc, I don't think innovation will help if it is built on a self-destructive model. … Certainly doomism does not help, but neither does naïve hope. …So, it's July 1st 2023 and I'm at the halfway point in this project. 26 episodes done with 25 to go.What's next?Well, to be honest, and I admitted as much in e123 maps, I really don't know. (e123 maps section of scrunching piece of paper)So these are the five elements on my map: mitigation, adaptation, tipping point line, survival and recovery, but the problem is that I'm wrong. The map is wrong.  The truth is that I don't know.  There are endless possibilities and dimensions that I'm not yet able to conceive or understand and yet sometimes, somehow, I can feel them. So I'm done with drawing maps and speculating with thoughts and ideas. Instead, I'm going to listen to the intelligence of my body, to the intelligence of non-human beings around me, to other forms of knowledge and beings that are emerging, and see where that takes me. I thought of erasing it all and returning the funds to the Canada Council and becoming a monk or a hermit.I expressed this sadness and grief at the end of my June blog as follows: I was reminded today of the Gesturing Towards Decolonial Futures collective's SMDA Compass teaching about how to walk a tightrope between desperate hope and reckless hopelessness. It's a fine line … but these days I've fallen into a deep cavern of hopelessness but not (yet) recklessly.Speaking of erasure, I notice recently that Catherine Ingram, the brilliant buddhist scholar and philosopher who has deeply influenced my learning journey, wrote on her website, in reference to her seminal essay, Facing Extinction, that:I wrote the long-form essay ‘Facing Extinction' in early 2019.  Over these past years I have occasionally been able to update the information and perspectives contained therein. However, I am finding that the speed with which the data is changing and the pressing issues that we are immediately facing, such as the exponential rise of artificial intelligence and transhumanism, have made some of this essay obsolete.  I have thus decided to remove it.Her statement reminded of this prescient quote from Facing Extinction that I used in episode 19 :(middle of e19 reality)Love, what else is there to do now?  Here we are, some of the last humans who will experience this beautiful planet since Homo sapiens began their journey some 200,000 years ago. Now, in facing extinction of our species, you may wonder if there is any point in going on.  Catherine, you're right that love is what we must do, and be. It might be all we can do, and be. So where do we go from here? Is there any point going on?(long silence)What do you think? More importantly…(end of e101 tension)How do you feel now?After quite a bit of thought, I decided to finish what I started, every Sunday, through to episode 153 on December 31st and see what happens. What can I learn and unlearn? What can I slow down or undo? I'm actually quite excited about part 2 of this project. In particular I want to explore the idea of inviting listeners differently and releasing materials into new soils.Thankfully, I don't have to do this work alone. I have the privilege of working with a number of great collaborators, including content advisors Azul Carolina Duque and Flora Aldridge, translator Carole Beaulieu, communications advisor Jessica Ruano,  web designer Ayesha Barmania and countless friends and colleagues who provide feedback and support. Thank you for your input and trust. I'll leave you with an excerpt from an episode in development. Thanks for listening and take care.(crows in city with rumble + various nature field recordings)*I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to Living Dharma. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

In February, Pennsylvania Governor Josh Shapiro announced that he would continue the moratorium on executions started by his predecessor, Tom Wolf. Shapiro also went a step further than Wolf, calling on the legislature to repeal the death penalty in its entirety. Marc Bookman is the executive director of the Atlantic Center for Capital Representation, a former attorney in the homicide unit of the Defender Association of Philadelphia, and the author of A Descending Spiral: Exposing the Death Penalty in 12 Essays. In this conversation, Marc explains just how dysfunctional capital punishment is in Pennsylvania and why, despite two decades since the last execution, the death penalty is very real in the commonwealth. Resources: Atlantic Center for Capital Representation: https://www.atlanticcenter.org/ A Descending Spiral: Exposing the Death Penalty in 12 Essays: https://thenewpress.com/books/descending-spiral

Loop38 explores human creativity, perseverance, and all that binds us all together. Works by George Lewis and Chen Yi look inward, considering humanity's inherent creativity and life force, while Carolyn Chen's work looks outward, contemplating our relationship with the environment. Deborah D.E.E.P. Mouton joins the musicians of Loop38 to present the world premiere of a work by Martha Horst based on D.E.E.P.'s poetry about hope, aspiration, and the power of creation. About Loop38 Loop38 is a boundary-pushing, artist-driven new music ensemble based in Houston, Texas, that aims to build community around innovative, stimulating, and culturally relevant musical experiences. Loop38 specializes in the performance of contemporary classical music for solo instrument, chamber ensemble, and large ensemble—instrumentations that collectively allow the full timbral spectrum of an orchestra while showcasing the virtuosic solo capabilities of its performers. Named after the 38-mile freeway (“the loop”) that encircles our hometown, Loop38 focuses on presenting distinctive and memorable aural experiences that push stylistic boundaries, feature underrepresented voices, and incorporate meaningful collaborations with composers and artists of other disciplines. About Deborah D.E.E.P. Mouton, poet Deborah D.E.E.P. Mouton is an internationally known writer, librettist, educator, activist, performer, and the first Black Poet Laureate of Houston, Texas. Formerly ranked the #2 Best Female Performance Poet in the World (PSI), Her work has appeared in Houston Noir by Akashic Press (2019), Black Girl Magic by Haymarket Books (2019), the Texas Observer, and Fjords Journal, and on such platforms as NPR, BBC, ABC, Apple News, Blavity, Upworthy, and across the TedX circuit. Honored by Houston Business Journal as a part of their 2021 40 Under 40 class, She has served as a contributing writer to Texas Monthly, Glamour Magazine, and ESPN's The Undefeated. This season, Plumshuga: The Rise of Lauren Anderson has its world premiere at STAGES Houston, which D.E.E.P. directs and wrote the book for. She also is slated to perform in Unison for Da Camera Society of Texas, which she also wrote poems for. Her recently published memoir, Black Chameleon (Henry Holt & Co, 2023), explores the use of modern mythology as a path to social commentary. About Martha Horst, composer Martha Horst is a composer who has devoted herself to the performance, creation, and instruction of classical music. Ms. Horst has won the Copland Award, the 2005 Alea III International Composition Competition for her work Threads, and the Rebecca Clarke International Composition Competition for her work Cloister Songs, based on 18th century utopian poetry. She has held fellowships at the MacDowell Colony, Atlantic Center for the Arts, Wellesley Conference, Norfolk Chamber Music Festival and Dartington International School in the UK. Her work Piano Sonata No. 1, recorded by acclaimed pianist Lara Downes, was released nationally by Crossover Media. Dr. Horst is a professor of composition and theory at Illinois State University and has also taught at the University of California, Davis, East Carolina University, and San Francisco State University. She recently served as the composer-in-residence for the Illinois Philharmonic Orchestra in Chicago, IL. This program is supported in part by funding from Texas Commission for the Arts, Houston Arts Alliance, and Poets & Writers.

(Claude Schryer)Jacek, what is soundwalking? (Jacek Smolicki)That's a very broad question, but I'll try to answer from two perspectives: my own and from what is kind of more generally considered soundwalking. So, to quote Hildegard Westerkamp, one of the pioneers of that practice, basically, a soundwalk is any kind of excursion into an environment which is motivated by us listening to it. Whether we do it with or without technologies or whether we do it on our own or in a group and the point of soundwalking is to connect or reconnect us with the environment, with how it sounds at the very moment to kind of reaching this sense of immersion in the here and now. My approach to sound is slightly different. I treat soundscapes as a kind of gateways to not only the momentary - the way that the sound  expresses itself in the moment  or the sound expresses events that happen at the moment - but also as gateways into the past and into the future. I like to kind of expand the perspective of soundwalking and use it as a kind of a vehicle to move us between different scales, between different temporalities and between different standpoints or different angles from which we can engage in this act of connecting with the environment. And the way I do it is by encouraging people to listen with whatever listening capacities they have, but also through technologies. And, as a scholar in media, in communications and within a personal interest in technological developments within sonogram, I'm trying to treat technologies as our companions rather than enemies or something that is alien to our human nature and try to build kind organic synergies between the way we implement technologies in our lives and in our ways of understanding nature around us. (Claude Schryer)And all the ethical ramifications of that…(Jacek Smolicki)Exactly and of course, ethical ramifications, so I like to call my approach to soundwalking as kind of a kind of transversal listening or hybrid listening where basically listening becomes like a vector that cuts through different layers of the environment in a kind of geological material sense, but also in a temporal sense. So as we stand here for example, we're not standing only here in this particular geography, but we are at the same time kind of benefiting from other geographies that surround us and we can actually hear, for instance, air traffic and through that sound we can connect with very distant geographies in a most direct sense, the geographies from which those planes arrive or are destined to, but we can also think of the plans around us as some of them are not necessarily native to this geography, right? They come from somewhere else. They pertain to different histories of, for instance, colonization and so on. And the same applies to temporalities. The sounds we hear today are here for some reason, right? They have roots in other sonic events that might not be directly accessible to us and this is also why I like to encourage imagination as a kind of natural component to soundwalking and listening and to enable a more speculative approach to how we listen. So instead of really trying to dissect and understand all the sounds around us to also think more imaginatively about what kinds of sounds existed before we stepped into that environment and what kind of sounds might exist in the future also because of our actions at the very moment.(Claude Schryer)We're doing a soundwalk now here, mostly talking about sound walking, but it's an experience and I've done it over the years and I encourage my listeners to do it because it's a very rewarding practice and it's one you can do anywhere, anytime. So before we run out of time, what would be a good question for people to ask themselves or to keep in mind as they soundwalk? (Jacek Smolicki)I think one important question would be what is my position within the soundscapes that I'm working through and how do I approach the soundscape? What kind of associations dominate my way of experiencing it, for instance, and start basically there and then trying to maybe gradually leave that zone and consider other ways of positioning ourselves in the soundscapes and by doing that, acknowledging the possibilities of other perspectives on the soundscapes and other ways of understanding and coexisting with it. (Claude Schryer)In other words, what is my position in listening ?*This episode with artist Jacek Smolicki was recorded on Friday March 24th, 2023 at 8.38am at the Atlantic Center for the Arts in New Smyrna Beach, Florida. It's a soundwalk about soundwalking but also about the role of acoustic ecology in the ecological crisis. After completing our 5 minute conversation we heard a passing train and continued our conversation, which is part 2 of this episode.I encourage listeners to do your own soundwalks. There are many guides and methods. One of my favorites is Soundwalking by Hildegard Westerkamp and also Jacek's book Soundwalking through time, space and technologies.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to the Children and Youth Artists' Grief Deck! Artists' Literacies Institute.*Jacek Smolicki (born during martial law in Kraków) is a cross-disciplinary artist, designer, researcher and educator. His work brings temporal, existential and critical dimensions to listening, recording and archiving practices and technologies in diverse contexts.Besides working with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental para-archives, and audio-visual installations.He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, and Historical Museum of Bosnia and Herzegovina, Sarajevo). His broad scope of site-responsive artistic and research work includes projects concerned with the soundscapes of the Swedish Arctic Circle, the Canadian Pacific Coast, the world's tallest wooden radio mast in Gliwice, the UFO testimonies from the Archive for the Unexplained in Sweden, the Jewish Ghetto in Kraków, the former sites of the Yugoslav Wars, Madrid's busking culture, and Alfred Nobel's factory complex in Stockholm, among many other places.In 2017 he completed his PhD in Media and Communications from the School of Arts and Communication at Malmö University where he was a member of Living Archives, a research project funded by the Swedish Research Council.Between 2020-2023 Smolicki pursues an international postdoctorate funded by the Swedish Research Council. Located at Linköping University in Sweden, Simon Fraser University in Vancouver, Canada, and Harvard, USA, his research explores the history and prospects of field recording and soundwalking practices from the perspective of arts, environmental humanities, and philosophy of technology.In 2022/2023 he is a Fulbright Visiting Scholar at Harvard.He is also an associate scholar at the Informatics and Media Hub for Digital Existence at Uppsala University. From January 2020 he is a member of BioMe, a research project that investigates ethical implications of AI technologies on everyday life realms. Smolicki explores sonic capture cultures and the impact of AI technologies on human and other-than-human voices.He is a co-founder of Walking Festival of Sound, a transdisciplinary and nomadic event exploring the critical and reflective role of walking through and listening to our everyday surroundings.Since 2008 Smolicki has been working on On-Going Project, a systematic experimentation with various recording techniques and technologies leading to a multifaceted para-archive of contemporary everyday life, culture, and environment. The On-Going Project includes Minuting, a record of public soundscapes performed daily ever since July 2010, for which he received the main prize at the Society for Artistic Research conference in 2022.For info see https://www.smolicki.com/index.html *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

(Jacek Smolicki)The ultimate question I'm asking is how can we move away from soundwalk as a kind of framed aesthetic experience or artistic experience and turn it into an existential practice or basically something that is just ingrained in our everyday life and we don't have to frame it anymore. It's just basically part of our way of living. (Claude Schryer)Can you give an example of that? (Jacek Smolicki)An academic example would be the concepts developed by Steven Feld, acoustemology, where basically listening, a kind of sonic way of being in the world is part of your culture, part of existence. You don't tell yourself, okay, I will listen to the world more carefully from now for another hour, and then I can just return back to my everyday life but you basically just keep listening, right? A kind of sonic sensitivity is one of the most important ways of understanding the world as opposed to being pushed to the background and only lifted up during those kinds of frame situations such as a soundwalk. (Claude Schryer)I've been sound walking in an analytical way, so I'll try to make sense of the sounds and where they are and what they're about but there's also an absorption factor where you allow the sounds to speak to you in their own language, right? As opposed to sort of rationally figuring them out. So, if we stop here and listen, what are you hearing? (Jacek Smolicki)I hear a coexistence of culture and nature and at the same time a kind of friction between two realms that in fact are just one realm and we kind of try to maybe separate them. We talked a little bit about this positionality and we hear the whistle of the train. From one perspective, we heard some people here referring to that sound as being very calming and reassuring, but if you think of indigenous people, that sound might mean a completely different thing. It's a form of bordering and creating, some kind of a division, of cutting the land and deciding how the land is to be traversed and utilized. So it definitely has a violent connotation if we look from that perspective and if we listen from that perspective. I think that this is some kind of sensitivity that I'm aiming at, also, while teaching, to be able to also take that thought into consideration when we try to value or kind of assign value to different sounds. I think Dylan Robinson is talking about oscillation. I think he calls it to be able to constantly oscillate, to move from one way of understanding sound to another. And basically by doing that it destabilizing certain certainties that characterizes our way of listening and, and by doing that, becoming open to those other understandings and perceptions… (Claude Schryer)And asking questions. You know, we were on a panel together a few days ago (Stetson University) when we were asking the question, how can listening help the world that is in crisis? and it's an open-ended question because with listening everybody has their own way of listening, but there are certainly deeper ways of listening that we can learn and unlearn as we work our way through these issues. (Jacek Smolicki)Exactly and that we've been talking a lot about hope. We've been talking a lot about how this openness is almost inherently good. I have that feeling. People talk about if we open up our listening and if we invite other perspectives, then we are doing something good. But I think that opening comes with certain responsibilities too, right? I like to think of it in a way that the more open we become to those different perspectives, the more troubled, actually, we should become more concerned rather than content and calm, so there's this disruptive aspect to listening that Hildegard Westerkamp has been writing about, but as we open ourselves, as we include other perspectives, we at the same time disrupted something, right? That we at the same time should be calling ourselves to action and becoming more responsible. So, there's some kind of an obligation I think that should follow that act of opening and deepening our listening. (Claude Schryer)I agree. Thank you for this moment. We will listen again.*This episode with artist Jacek Smolicki was recorded on Friday March 24th, 2023 at 8.44 am at the Atlantic Center for the Arts in New Smyrna Beach, Florida. It's a soundwalk about soundwalking but also about the role of acoustic ecology in the ecological crisis. After completing our first 5 minute conversation (e113 part 1) we heard a passing train and continued our conversation, which is this episode (part 2).I encourage listeners to do your own soundwalks. There are many guides and methods. One of my favorites is Soundwalking by Hildegard Westerkamp but also Jacek's new book Soundwalking through space, time and technologies.I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to the  Children and Youth Artists' Grief Deck! Artists' Literacies Institute.*Jacek Smolicki (born during martial law in Kraków) is a cross-disciplinary artist, designer, researcher and educator. His work brings temporal, existential and critical dimensions to listening, recording and archiving practices and technologies in diverse contexts.Besides working with historical archives, media, and heritage, Smolicki develops other modes of sensing, recording, and mediating stories and signals from specific sites, scales, and temporalities. His work is manifested through soundwalks, soundscape compositions, diverse forms of writing, site-responsive performances, experimental para-archives, and audio-visual installations.He has performed, published, and exhibited internationally (e.g. In-Sonora Madrid, Moscow International Biennale for Young Art, AudioArt Kraków, Ars Electronica, Linz, and Historical Museum of Bosnia and Herzegovina, Sarajevo). His broad scope of site-responsive artistic and research work includes projects concerned with the soundscapes of the Swedish Arctic Circle, the Canadian Pacific Coast, the world's tallest wooden radio mast in Gliwice, the UFO testimonies from the Archive for the Unexplained in Sweden, the Jewish Ghetto in Kraków, the former sites of the Yugoslav Wars, Madrid's busking culture, and Alfred Nobel's factory complex in Stockholm, among many other places.In 2017 he completed his PhD in Media and Communications from the School of Arts and Communication at Malmö University where he was a member of Living Archives, a research project funded by the Swedish Research Council.Between 2020-2023 Smolicki pursues an international postdoctorate funded by the Swedish Research Council. Located at Linköping University in Sweden, Simon Fraser University in Vancouver, Canada, and Harvard, USA, his research explores the history and prospects of field recording and soundwalking practices from the perspective of arts, environmental humanities, and philosophy of technology.In 2022/2023 he is a Fulbright Visiting Scholar at Harvard.He is also an associate scholar at the Informatics and Media Hub for Digital Existence at Uppsala University. From January 2020 he is a member of BioMe, a research project that investigates ethical implications of AI technologies on everyday life realms. Smolicki explores sonic capture cultures and the impact of AI technologies on human and other-than-human voices.He is a co-founder of Walking Festival of Sound, a transdisciplinary and nomadic event exploring the critical and reflective role of walking through and listening to our everyday surroundings.Since 2008 Smolicki has been working on On-Going Project, a systematic experimentation with various recording techniques and technologies leading to a multifaceted para-archive of contemporary everyday life, culture, and environment. The On-Going Project includes Minuting, a record of public soundscapes performed daily ever since July 2010, for which he received the main prize at the Society for Artistic Research conference in 2022.For info see https://www.smolicki.com/index.html. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Recently a Texas Judge delayed the execution of Andre Thomas – a man who is so severely mentally ill, the crime he committed of killing his wife and mixed race children involved cutting out their hearts and carrying them in his pocket. He proceeded to separately gouge out both of his eyes, the second of which he ate. Talking with Marc Bookman, who founded the Atlantic Center for Capital Representation in Philadelphia and has followed this case, he laid out a number of the concerns about this case. His late white was white, the children were mixed race, and as Bookman noted, “four of the twelve eventual jurors were opposed to people of mixed-race backgrounds marrying and/ or having children.” One even stated that he did not believe “God intended for this.” Andre's court-appointed lawyers did not object, and the jurors were seated. The entire jury—not to mention the judge and all of the lawyers—were white. The prosecutor in his closing argument clearly played the race card, asking the jurors if they were willing to risk Andre “asking your daughter out, or your granddaughter out?” This is a case tinged in racism, dogged by ineffective assistance of counsel, and by a mental health system that failed all the way through. And somehow, at least to this point, the legal system has failed to stopped the execution train. Listen as Marc Bookman discusses one of the most disturbing death penalty cases in memory.

In Everyday Injustice's second installment with Marc Bookman, we discuss the Atlantic Center for Capital Representation – a non-profit set up in 2010 that was created due to lack of state funding in Pennsylvania for indigent defense. “ACCR fills a void created by the lack of adequate funding for poor defendants and provides hope to those who have lost it,” the group's mission explains. Pennsylvania continues to be a state caught in limbo. In February, newly elected Governor Josh Shapiro announced a moratorium on executions, “The Commonwealth shouldn't be in the business of putting people to death. Period.” The Governor went further, speaking “to the fundamental question as to whether death is a just and appropriate punishment for the state to inflict on its citizens.” The system is fallible, he said, and the outcome is irreversible. Rejecting the idea that our capital punishment system is flawed but fixable, he called on the General Assembly to “work with me to abolish the death penalty once and for all here in Pennsylvania.” This was a surprising move, as Bookman points out, “our former Attorney General, Mr. Shapiro had hardly appeared the abolitionist. He himself admitted that he had “evolved” on the issue, and evolve he certainly did…” At the same time, the moratorium, only goes so far. Bookman explained, “As long as there is a death row, there is a risk the next governor will end the moratorium, just as Trump ended the unannounced but very real moratorium by President Obama.” Listen as Marc Bookman talks about the work of the Atlantic Center for Capital Representation and the nature of the death penalty in Pennsylvania.

In Everyday Injustice's second installment with Marc Bookman, we discuss the Atlantic Center for Capital Representation – a non-profit set up in 2010 that was created due to lack of state funding in Pennsylvania for indigent defense. “ACCR fills a void created by the lack of adequate funding for poor defendants and provides hope to those who have lost it,” the group's mission explains. Pennsylvania continues to be a state caught in limbo. In February, newly elected Governor Josh Shapiro announced a moratorium on executions, “The Commonwealth shouldn't be in the business of putting people to death. Period.” The Governor went further, speaking “to the fundamental question as to whether death is a just and appropriate punishment for the state to inflict on its citizens.” The system is fallible, he said, and the outcome is irreversible. Rejecting the idea that our capital punishment system is flawed but fixable, he called on the General Assembly to “work with me to abolish the death penalty once and for all here in Pennsylvania.” This was a surprising move, as Bookman points out, “our former Attorney General, Mr. Shapiro had hardly appeared the abolitionist. He himself admitted that he had “evolved” on the issue, and evolve he certainly did…” At the same time, the moratorium, only goes so far. Bookman explained, “As long as there is a death row, there is a risk the next governor will end the moratorium, just as Trump ended the unannounced but very real moratorium by President Obama.” Listen as Marc Bookman talks about the work of the Atlantic Center for Capital Representation and the nature of the death penalty in Pennsylvania.

Artist, writer, cartoonist, playwright, director etc. Dean Haspiel rejoins the show to talk why he's launched his first Kickstarter (open through 3/30/23) to support a new comic, COVID Cop (think "unholy but hilarious combo of Judge Dredd, The Toxic Avenger, Sin City, and Marshal Law")! We get into how his approach to storytelling has changed in recent years, how he felt about the COVID-delayed debut of his play The War Of Woo, the thrill of making his short movie There Is No Try, and what it's like to work in hyper-collaborative mediums like theater & film. We also talk about the experience of drawing Superman at Yaddo, why he needed to revisit his pitch for COVID Cop now that we're semisorta past the worst of the pandemic, returning to his fave character, Billy Dogma, and wrapping up one phase of his The Red Hook series, the influence of Kyle Baker's Why I Hate Saturn on his upcoming work, the experience of mentoring comics artists at Atlantic Center for the Arts last month, his take on AI art for comics, and a lot more. Follow Dean on Twitter, Facebook, Instagram, and Substack, and support his Patreon • More info at our site • Support The Virtual Memories Show via Patreon or Paypal and via our Substack

Continuing our series of conversations with Black musicians for Black History Month, today Dr. Phil Ewell (Hunter College of City University of New York) joins me on the show to discuss his background as a cellist, his time studying music theory at Yale University, and our shared investment in public music theory. We also examine the whiteness and maleness of music theory through the lens of other scholarship throughout the humanities, in order to explore what anti-racist work in music theory could actually look like. Finally, Phil shares a little about his new book, forthcoming through the University of Michigan press! Thanks to Natalie Krafft for editing the written transcript of this episode! Phil's Music Theory Online article Our podcast episode about Phil's article My time in Phil's residency at the Atlantic Center for the Arts Phil's blog posts SMT-Pod The 1619 Project by Nikole Hannah-Jones The Baptism of Early Virginia by Rebecca Anne Goetz Moral Man and Immoral Society by Reinhold Niebuhr Preorder Phil's book: On Music Theory and Making Music More Welcoming For Everyone Get in touch with me at: hermusicacademia@gmail.com

Marc Bookman, Co-founder of nonprofit Atlantic Center for Capital Representation in Philadelphia and author of the book, A Descending Spiral: Exposing the Death Penalty in 12 Essays. This book, a collection of essays that highlights the injustice of the death penalty. Listen as he discusses some of the worst aspects of the criminal legal system. Bookman discusses among other things: racist judges and the role overall of racism in the death penalty, judges who execute despite the jury ruling for life, the role of mental health, and children killing their abusers. In the end, he concludes that the death penalty is ineffective, arbitrary and widely infected with racism.

John Meyer joins Ethics Talk to discuss how “human-centered” design can help remove barriers to care and forge solidarity between patients and clinicians, and multi-disciplinary artist Eve Payor talks about her projects with the Atlantic Center for the Arts and how soundscape ecology can help understand effective sound design in health care settings.  Interview with John Meyer recorded on August 23, 2022.  Interview with Eve Payor recorded on August 24, 2022. Read the full December 2022 issue for free here. 

Ali Miller is a New York City-based artist from Long Island, NY, working in painting, drawing, and sculpture. Miller constructs fantastical nonlinear-narratives, addressing themes of expectation, using extreme and surreal scenarios. Miller received her MFA from the Maryland Institute College of Art, Hoffberger School of Painting in 2012 and her BFA from Alfred University in 2008. She has attended residencies at the Atlantic Center for the Arts, Golden Foundation, Vermont Studio Center, Chateau Orqueveaux, and Chautauqua Institution. In 2012, Miller received the Best in Show Prize at the Bethesda Painting Awards. Miller's work has been exhibited both nationally and internationally, and her work can be found in both public and private collections. She is currently represented by High Noon Gallery. Sound & Vision is sponored by Golden Artist Colors. Golden makes the best acrylics and mediums, QoR Watercolors and williamsburg Oil paints in New Berlin, NY. An employee owned company, Golden is dedicated to making the best paints tht artists can use in their studios. I have been painting with Golden for over 23 years and I swear by it. Check out their paints at your local art store or at Goldenpaints.com. S&V is also sponsored by Fulcrum Coffee Roasters. They make amazing coffee and ship their beans to your doorstep so you canhave incredible coffee at home. Check out their coffee at fulcrumcoffee.com and add the code alfredstudio to your order and get 20% off your order. Why I make Art is out now. you can get it here: https://www.amazon.com/Why-Make-Art-Contemporary-Artists/dp/1733622098

#PodcastersForJustice Award-winning, queer, Jamaican-American writer, videographer, activist, and debut memoirist, Prince Shakur, spoke to me about James Baldwin's legacy, writing towards his father's murder, and his latest, "When They Tell You To Be Good." Prince Shakur is a freelance journalist, videomaker, and New York Times recognized organizer whose debut memoir, When They Tell You To Be Good, is about his "political coming of age in Obama and Trump's America." It is a Powell's Holiday Pick for 2022 and a TIME, Poets & Writers, Publishers Weekly, them, The Week, Debutiful, and Book Riot Best “Book of Fall.” Described as an exploration of "... his radicalization and self-realization through examinations of place, childhood, queer identity, and a history of uprisings," the memoir won the Hurston/Wright Crossover Award and has earned him residencies with Sangam House, La Maison Baldwin, The Studios of Key West, and The Atlantic Center for the Arts.  As a freelance journalist Shakur has penned numerous op-eds, essays, and features in Teen Vogue, Daily Dot, CodaStory, Cultured Magazine, AfroPunk, and more. His writings have been used in university classrooms, including Nikkita Oliver's Prison Abolition course offered at the University of Washington. Stay calm and write on ... Get 'The Writer Files' Podcast Delivered Straight to Your Inbox If you're a fan of The Writer Files, please "Follow" us to automatically see new interviews. In this file Prince Shakur and I discussed: How he hustled as a young freelance journalist The black, queer, activist experience Why he feels the need to push past the notion of "bearing witness" What it's like to navigate anti-blackness abroad The urgency of artwork in the face of death Why artist residencies and grants are so important for writers And a lot more! Show Notes: princeshakur.com When They Tell You To Be Good by Prince Shakur (Amazon) Prince Shakur on Instagram Prince Shakur on Twitter Kelton Reid on Twitter Learn more about your ad choices. Visit megaphone.fm/adchoices

Delali Ayivor brings fun to the archive! In this conversation, we talk about her practice in information technology; family history and recipes in iPhone notes; creative tips for free writing; and her current project, Consideration, which mines her Facebook for 8th grade conversations. To top it all off, she reads one of her poems, IBID. Delali is a poet writing for Black women and those who hope to love them. Delali has been a U.S. Presidential Scholar in the Arts and was a member of the second cohort of Kehinde Wiley's Black Rock Senegal residency. A 2020 Tin House Summer Workshop Scholar, and a resident at Atlantic Center for the Arts with Tracie Morris and at the STONELEAF Retreat. Her new book, She is this, is available from King's Leap Editions. Also check out her two new poems in The Iowa Review Delali's work is online at DelaliAyivor.com and on Instagram @_laney.boggs ---------------------- Have something you want to share? It's easy. Send a voice message here! No logging in required. 1-800-POWERS is written and produced by artist, writer, and performer Lex Brown. Visit her website www.lexbrown.com or Instagram at @lex_brown_ Animations by Nora Rodriguez Music by Ben Babbitt --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/1-800-powers/message

Teaser: Quotes by George Bernard Shaw, Henry Van Dyke, Jeremiah Brent, and Roald Dahl on closets and secrets.Song 1: “Ballad of Mollie Bean” written and performed by John V. Modaff, with Dan Modaff on mandolinPoem 1: “The Last Detail” by Jack Cooper. Published by Bosque Press in ABQ inPrint #5, Fall, 2021. www.bosquepress.comFiction: excerpt from “The Surrogate,” a novel-in-progress by Lynn C. Miller. www.lynncmiller.comFeed the Cat break: acoustic guitar by Chris Geyerman with jvm on pianoPoem 2: “Dear Husband from Afar” by Barbara Rockman. From the collection to cleave, published by UNM Press, 2019. The poet says: “I was literally afar at a three-week artists' residency at Atlantic Center for the Arts in Florida; my husband was home in New Mexico.” Song 2: “Closets Gonna Sing” by JVM, harmonicas courtesy of Dave MerrillEpisode artwork by Lynda Miller Show theme and Incidental music by John V. Modaff Recorded in Albuquerque, NM and Morehead, KY. Produced at The Creek Studio, Morehead NEXT UP: Episode 19, “Faith”

Larry Mitchell is not just a Grammy award-winning producer, engineer and performer. He is one of those musicians you cannot stop listening to and we were lucky enough to have him join us on The Sonic Truth podcast. Chris and  Larry talk transformers, tubes, analog vs digital audio, ribbon mics and much more. Plus we announce our lucky merch pack winner. Audioscape https://www.audio-scape.com/ Larry Mitchell https://www.larrymitchell.com/ Artist' Larry has worked with. https://www.katiemartinmusic.com/bio.html https://www.joyharjo.com/ 0:00 Introduction 3:03 Atlantic Center for the Arts 7:34 Larry at NAMM 10:45 How Did Larry Hear About Audioscape 15:35 Analog and Tubes 18:15 Types of Transformers 21:00 Ribbon Mics 24:50 Audioscape News 26:17 College in Santa Fe 30:02 Outro       #namm #audio #grammy #guitarist #comedy #vintagegear #music #audioscape

**SPECIAL ANNOUNCEMENTS: For more information or to Register for Dr. Carol's 90-Day Wildfit Program, which starts on April 14, 2022....send an email to info@drcarolpenn.com with "WildFit" in the subject line. Contact this episode's Super-friend, Dr. S. Ama Wray * www.embodiology.com * Maximize the potential of your breath through liberatory movement. www.joyinmotion.io * https://events.embodiology.com/how-jim-works ~~~~ Hosted by Dr. Carol Penn, DO, & Diem Jones this exciting 10-part Series, now in Season 8, is presented by Penn Global Visions and Dr. Carol's team of Super-friends as we explore the worlds of: weight loss; weight loss maintenance; aging in reverse; heart health; optimizing health and well being. Weightless in Mind Body and Spirit, is designed to assist each participant in the journey of outrageous self-care and how to prioritize themselves on behalf of achieving their best and highest self. Over the course of our show you will learn how to balance your Sympathetic and Parasympathetic nervous system. Tune in to this episode as we discuss "Ancestral Movement" with returning Super-friend, Dr. S. Ama Wray. Produced by: Kenya Pope, http://goddess.kenyapope.com ~~~~ Featured Guest: Dr. S. Ama Wray – Performance Architect Dr. S. Ama Wray, TEDx Speaker, has been performing, teaching and choreographing across 3 continents for over 30 years, performing and touring with London Contemporary Dance Theater and Rambert Dance Company across the UK, USA and Europe. As founder and Artistic Director of JazzXchange Music and Dance Company she was Artist-in-Residence at The Royal Opera House and Southbank Center, UK. Improvisation, often seen as the dominion of jazz music is also synonymous with creativity and in 2021, she has launched a new program to bring this insight into the lives of everyday people through a body mind practice called JiM™ - Joy in Motion. This work emerges out a methodology she created known as Embodiology®. It originates from a study of improvisation identified within West African performance practices through which six principles were identified and iteratively tested in western performance contexts to attain their performance efficacy. Committed to recognizing these origins her organization gives royalties back to the rural community with whom she studies Ewe dance and music. These principles are now being translated and applied to illuminate different areas of human communication, across fields such as medical humanities, music, leadership, child development and somatic coaching. Recent publications include chapters in British Dance, Black Routes and The Oxford Handbook of Improvisation. This virtual iteration, developed during this COVID-19 pandemic, led her to provide services to the Susan Samueli Integrative Health Institute, at the University of California Irvine. A former National Endowment for Science Technology and the Arts Fellow (NESTA), a UK version of the McArthur Awards, she began her exploration into performance and technology through a concept known as Texterritory produced by Future Physical. These digital terrains continue to be explored through AI 4 Afrika, an initiative she co-founded with choreographers, data scientists, artists, scholars, and entrepreneurs in 2020. Alongside artistic practice she continues her intellectual pursuits, receiving the African Diaspora Emerging Scholar Award from the Comparative International Education Society in 2018. As a public intellectual she has been an invited speaker for the United Nations, Dance/USA, Princeton University, Temple University, University of Wisconsin-Madison; Atlantic Center of the Arts, Florida and New Waves! Institute, Trinidad & Tobago. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/carol-penn/support

Artist and educator, Anita Allyn and I talk about the origins of her photography and installation work and we talk about our shared experiences of teaching in Mercer County, New Jersey. Anita is the Coordinator and Professor of Photography and Video at The College of New Jersey.   https://www.anita-allyn.com https://www.instagram.com/anita_allyn/   This episode is sponsored by the Charcoal Book Club, a monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. www.charcoalbookclub.com   Anita Allyn, born in Edinburgh, Scotland, is a Professor of Art at The College of New Jersey where she has taught since 1999. She has a MFA from The School of the Museum of Fine Arts, Boston and a BFA from The Kansas City Art Institute. She was awarded a student scholarship to study in Aix-en-Provence, France and has studied abroad at Brighton Polytechnic, England. Anita Allyn's photography and installation works have been exhibited at such venues as The Tate Modern, London, National Centre for Contemporary Arts, Moscow, Russia, International Photography Biennial, Columbia, South America as well as local venues at the University of Pennsylvania, Vox Populi, Philadelphia, Art Institute of Boston, Atlantic Center for the Arts, and The Museum of Fine Arts, Boston. Her single channel video screenings have included The Institute of Contemporary Art, Philadelphia, Pioneer Theater in New York, Director's Lounge, Berlin Germany, Massachusetts Museum of Contemporary Art, Elements Museum of Contemporary Art, Beijing, China, and the Israeli Center for the Arts.

Artist and filmmaker, Chris Miyashiro, talks about his process, from dreams to road trips, and his style as a filmmaker.  His first movie, In Dancing Days of Dawn, premiered with us in June of 2019.  We love Chris's work and will be showing Whistle of Wilderness on August 28th at Atlantic Center for the Arts.  Enjoy the chat, and come meet him at the screening. Check out his stories here.

Sun You is a Seoul born, New York based artist. She has exhibited her work in galleries and museums internationally. Recent exhibitions include Geary, NY, The Pit, CA, Step Sister, NY, Queens Museum, NY, The Hangaram Art Museum, Seoul, Scotty Enterprise, Berlin, Virginia Commonwealth University , VA, and The Suburban, IL. Sun was an artist in residence at Hunter College, Ace Hotel, Marble House Project, Atlantic Center for the Arts, Triangle Arts Association, Künstlerhaus Schloss Balmoral and the Sharpe and Walentas Studio Program.  She was also selected as  Artists to Watch in 2016 by WIDEWALLS and 18 Artists to Watch, by Modern Painters, 2015 and a recipient of  AHL Grant, Korean Art Foundation, 2018. Sun is currently teaching as a visiting professor at the University of Oregon. Sun's artist book, ‘please enjoy!' with Small Editions, was acquired by the Whitney Library, The Metropolitan Museum of Art, the School of the Art Institute of Chicago, Yale University and the NY Public Library. Sun heads President Clinton Projects, a curatorial project and co-runs a non-profit gallery, Tiger Strikes Asteroid  New York. She is also a co-founder and core-member of An/other New York, a collective of  Asian and Asian American visual artists, writers and curators.

The July 2021 episode of Discussions with DPIC features a conversation between DPIC Executive Director Robert Dunham and Marc Bookman, the co-founder and Executive Director of the Atlantic Center for Capital Representation (ACCR), regarding his critically acclaimed new book, A Descending Spiral: Exposing the Death Penalty in 12 Essays. Bookman and Dunham explore a wide range of systemic death-penalty problems addressed in the book, which was released in May 2021. The topics include mental illness, racial injustice, judicial and juror bias, ineffective representation, and prosecutorial misconduct.

In conversation with Reggie Shuford, Executive Director of the American Civil Liberties Union (ACLU) of Pennsylvania. The Executive Director of the Atlantic Center for Capital Representation, Marc Bookman is an internationally renowned expert on death penalty law. He served for 17 years in the Homicide Unit of the Defender Association of Philadelphia, providing legal representation to many clients facing the possibility of the death penalty. A sought-after speaker at numerous legal conferences and trainings across the country, he has published essays on various aspects of capital punishment in The Atlantic, Mother Jones, and VICE, among other places. In A Descending Spiral, Bookman offers 12 essays that expose the tragic absurdities, unfortunate human instincts, and systemic criminal justice failings that undercut the logic and fairness of the death penalty in the United States. Books available through the Joseph Fox Bookshop (recorded 5/20/2021)

Have you always wondered how a performer thinks? Or perhaps you have secretly considered yourself a performer looking for a place to happen! This episode we have the pleasure of chatting with Monique Jenkinson, aka the multifaceted, always complicated and definitely delightful Fauxnique, the first cisgender woman to win a drag queen pageant. She has toured the world with her many amazing shows including "The F Word." She chats with us about artistic expression, her process and how her winding path led her from ballet, to international recognition to her forthcoming memoir.  You can learn more about Fauxnique at www.Fauxnique.netView some of her performances here  or on Vimeo--------------------------------------------------------------------------------------I am an artist, performer, choreographer and writer. I made herstory as the first cis-woman to win a major drag queen pageant and subsequently my solo performance works have toured nationally and internationally in wide-ranging contexts from nightclubs to theaters to museums — from Joe's Pub, New Museum and the historic Stonewall in New York City, Yerba Buena Center for the Arts, ODC Theater, The Stud, CounterPulse and de Young Museum in San Francisco, and in Seattle, Los Angeles, New Orleans, Provincetown, London, Edinburgh, Berlin, Zürich, Paris, Reykjavik, Rome, Catania and Cork.I have created space for kids to dress drag queens at a major museum and created college curricula. I played the DIRT (originated by Justin Vivian Bond) in Taylor Mac's Lily's Revenge and Eurydike in Anne Carson's ANTIGONICK. I engaged in public conversation with Gender Studies luminary Judith Butler and RuPaul bestie Michelle Visage within days of each other. I am currently writing a memoir.Honors include residencies at Headlands Center for the Arts, Tanzhaus Zürich and Atlantic Center for the Arts, an Irvine Fellowship and residency at the de Young Museum, GOLDIE and BESTIE awards and 7X7 Magazine's Hot 20. I have been nominated for the Theater Bay Area, Isadora Duncan Dance (IZZIE) and Herb Alpert Foundation awards and have received support from San Francisco Arts Commission, Foundation for Contemporary Arts, CHIME, Center for Cultural Innovation and the Kenneth Rainin and Zellerbach Family foundations.Artist StatementMy work exists at the crossroads of Cabaret and Contemporary Dance and considers the performance of femininity as a powerful, vulnerable and subversive act. I emerged out of a feminist, postmodern, improvisational dance and choreographic lineage, and grew toward a tradition of radical queer performance that uses decadence and drag both to entertain and transcend. My practice of feminism celebrates glamour as masterful artifice, and my intimacy with both the oppressive and empowering effects of feminine tropes allows me to create a zone of play from which I make my particular critique.Since 2003 I have been deeply engaged in an ongoing performance project, my drag queen persona Fauxnique. As a lens through which I magnify my artistic concerns, Fauxnique typifies and expands the evolution of drag-based performance and furthers the feminist line of inquiry in my work. As Fauxnique, I approach the established tradition of the drag lip-sync as a dance in its own right, and bring to it the rigor of my dance training. I am on the vanguard of what is now a common practice: museums and larger institutions embracing nightclub culture as queer history and contemporary art practice. See acast.com/privacy for privacy and opt-out information.

Julie and Casey sit down with legendary San Francisco dancer and drag performer, Monique Jenkinson, aka FAUXNIQUE to talk about performing femininity, both through drag and not, finding authenticity through practices of artifice, and the journey of a Good Dance Student to nightclub performer, and get some San Francisco Dragucation.  *Note- we use the “c***” word a LOT in this episode, so take care for sensitive ears. TOP TAKEAWAYS Drag is not (just) men in heels—it’s a rich, smart, funny, scrappy performance tradition that uses the body and artifice to access larger themes. Other kinds of drag performance of femininity include the good girl persona, and the world of ballet. Your curiosity is a prelude to discovering your wants- conditioning can make wants hard to identify, curiosity allows you to find them, lose them and find them again. Owning your curiosity, desires, and wants is crucial Practices of artifice can be a version of authenticity Balance is the answer to binaries—balance allows for dynamic movement and change between points. Your strut is the embodiment of your energy as you enter a space, whether that is virtual or physical, and being with your right to be seen with the willingness to contribute what you have. Please join us next week for a Strut Workshop with Monique 4/28 4pm PST/7pm EST.  Details are HERE:  https://vitalvoicetraining.com/labs Find Monique at fauxnique.net ODC June Performance:  https://www.odc.dance/festival Other People and Events Mentioned in the episode: Heklina:  https://www.dragtimewithheklina.com/ Juanita More https://juanitamore.com/ TrannyShack https://www.imdb.com/title/tt0468563/ Prince “Cream” https://www.imdb.com/title/tt0468563/ PJ Harvey Sheela Na Gig: https://youtu.be/Sjxr_No-yuY Ana Matronic and Scissor Sisters https://en.wikipedia.org/wiki/Scissor_Sisters About Monique Jenkinson: "I am an artist, performer, choreographer and writer. I made herstory as the first cis-woman to win a major drag queen pageant and subsequently my solo performance works have toured nationally and internationally in wide-ranging contexts from nightclubs to theaters to museums — from Joe’s Pub, New Museum and the historic Stonewall in New York City, Yerba Buena Center for the Arts, ODC Theater, The Stud, CounterPulse and de Young Museum in San Francisco, and in Seattle, Los Angeles, New Orleans, Provincetown, London, Edinburgh, Berlin, Zürich, Paris, Reykjavik, Rome, Catania and Cork. I have created space for kids to dress drag queens at a major museum and created college curricula. I played the DIRT (originated by Justin Vivian Bond) in Taylor Mac’s Lily’s Revenge and Eurydike in Anne Carson’s ANTIGONICK. I engaged in public conversation with Gender Studies luminary Judith Butler and RuPaul bestie Michelle Visage within days of each other. I am currently writing a memoir. Honors include residencies at Headlands Center for the Arts, Tanzhaus Zürich and Atlantic Center for the Arts, an Irvine Fellowship and residency at the de Young Museum, GOLDIE and BESTIE awards and 7X7 Magazine’s Hot 20. I have been nominated for the Theater Bay Area, Isadora Duncan Dance (IZZIE) and Herb Alpert Foundation awards and have received support from San Francisco Arts Commission, Foundation for Contemporary Arts, CHIME, Center for Cultural Innovation and the Kenneth Rainin and Zellerbach Family foundations."

celeste doaks is a poet and journalist. She is the author of Cornrows and Cornfields, a collection of poems published in 2015 by Wrecking Ball Press. The book was listed as one of the Ten Best Books of 2015 by Beltway Quarterly Poetry. In 2017, she edited and contributed to the anthology Not Without Our Laughter: Poems of Humor, Joy, and Sexuality, published by Mason Jar Press. And in 2019 she published American Herstory, which was the winner of Backbone Press's 2018 chapbook competition. The chapbook, which we talk about in the podcast, was named best chapbook by the Maryland Poet Laureate, Grace Cavalieri, and includes poems about First Lady Michelle Obama. celeste has received numerous awards, such as a 2017 Rubys Grant in Literary Arts, a Lucille Clifton Scholarship, and residencies at Atlantic Center of the Arts and the Fine Arts Work Center in Provincetown. In addition to American Herstory, on the podcast we also discuss celeste's five forthcoming poems about the nineteenth-century African American entrepreneur Mary Ellen Pleasant and an article that celeste wrote in Ms. Magazine about a recent innovative online concert given by the singer-songwriter Erykah Badu. We also mention celeste's monthly book recommendation column, which blends together celeste's thoughts about literature with astrology, Litscope, and her review of the poet Rachel Long's book My Darling from the Lions, out now in the UK but soon to appear in the US. You can find links to all of these books, articles and poems on the Poetry Centre's Podcasts page (https://www.brookes.ac.uk/poetry-centre/podcasts/). On the podcast, celeste reads two poems from American Herstory: the title poem and also ‘What the First Lady Found in my Homage', and we talk about what Michelle Obama's role as First Lady has meant for American life and politics, the recent election of Kamala Harris to the Vice Presidency, and a number of significant but neglected American women. celeste also explains how she wrote about Michelle Obama through the art work that the First Lady chose for the White House and what these choices can tell us about not just Obama herself, but America more generally. You can find out more about celeste's work on her website (https://doaksgirl.com/) and follow her on Twitter (@thedoaksgirl). It was such a pleasure to hear celeste read these poems and to talk to her about them. I urge you to check out American Herstory; it's a truly vibrant and exciting collection of poems that explores - through humour, fine detail, and beautifully-imagined situations - Michelle Obama's experience in the White House and some of the positive and painful challenges that came with that, as well as thinking through black women's experiences in the United States now. And make sure you look out for celeste's fascinating and important forthcoming poems about Mary Ellen Pleasant in Volume 33 of the Chicago Quarterly Review. Again, there is a link to the journal on the Poetry Centre's Podcasts page. If you enjoy the podcast or have any comments, feel free to get in touch: we're on social media where our handle is @brookespoetry, and you can e-mail me via the Poetry Centre website. Thanks again for listening!

Cintia Santana's work has appeared in the Best New Poets 2020 anthology, The Iowa Review, The Kenyon Review, and many other literary journals. She was awarded fellowships from CantoMundo, the Atlantic Center for the Arts, and the Djerassi Resident Artists Program. She teaches literary translation, as well as poetry and fiction workshops in Spanish, at Stanford University.  Links: https://files.captivate.fm/library/43d3f64c-7a32-4087-861b-372b7720d4ac/ode-to-the-j-and-f-cintia-santana.pdf (Read "Ode to the J" and "[F]") Cintia Santana's websitehttps://www.cintiasantana.com/ ( ) https://kenyonreview.org/conversation/cintia-santana/ (Interview at The Kenyon Review) https://kenyonreview.org/writer/cintia-santana/ (Poems at Kenyon Review Online ) https://harvardreview.org/content/kintsugi/ (“Kintsugi” at Harvard Review Online) https://www.bpj.org/contributors/santana-cintia (Poems at Beloit Poetry Journal) “Plosive” (visual poem) at Pleiades Music: "https://freemusicarchive.org/music/Chad_Crouch/field-report-vol-vi-bayocean-instrumental/just-a-memory-now-instrumental (Just A Memory Now (Instrumental))" by https://www.soundofpicture.com/ (Chad Crouch) is licensed under https://creativecommons.org/licenses/by-nc/4.0 (CC) https://creativecommons.org/licenses/by-nc/4.0 (BY NC 4.0) with modifications

Cintia Santana’s work has appeared in the Best New Poets 2020 anthology, The Iowa Review, The Kenyon Review, and many other literary journals. She was awarded fellowships from CantoMundo, the Atlantic Center for the Arts, and the Djerassi Resident Artists Program. She teaches literary translation, as well as poetry and fiction workshops in Spanish, at Stanford University. Links: https://www.cintiasantana.com/ (Cintia Santana’s Website ) https://kenyonreview.org/conversation/cintia-santana/ (Interview at The Kenyon Review) https://kenyonreview.org/writer/cintia-santana/ (Poems at Kenyon Review Online ) https://harvardreview.org/content/kintsugi/ (“Kintsugi” at Harvard Review Online) https://www.bpj.org/contributors/santana-cintia (Poems at Beloit Poetry Journal) https://pleiadesmag.com/featured-poem-plosive-by-cintia-santana/ (“Plosive” (visual poem) at Pleiades) Music: "https://freemusicarchive.org/music/Chad_Crouch/field-report-vol-vi-bayocean-instrumental/just-a-memory-now-instrumental (Just A Memory Now (Instrumental))" by https://www.soundofpicture.com/ (Chad Crouch) is licensed under https://creativecommons.org/licenses/by-nc/4.0 (CC) https://creativecommons.org/licenses/by-nc/4.0 (BY NC 4.0) with modifications

Sophie Grant is an artist using painting, drawing, collage, and processes of transference and erasure to create energetic abstractions. In her work, foregrounds and backgrounds fluctuate with compositions that challenge depth perception. Pours of paint and crusty stains coagulate, evoking erosion and relief. Hand built ceramics punctuate fields of flatness, adding dimension to the rigid support of a wall. Her recent drawings are graphite rubbings that explore temporary physical and psychological sites through the echoes of histories embedded in object surfaces. These works grapple with ideas of boundaries and containers, and question what delineates the periphery of objects. Sophie's practice culls and compresses disjointed gestures, allowing shapes, digits, and surface variations to become units of measurement and unknowable markers. The result is a materially varied set of transcribed bodily perceptions, grounded in the subject of landscape. Sophie Grant was born in Santa Cruz, California and lives and works in New York City. She received her BA in Painting from the University of California, Santa Barbara in 2008, completed her MFA at Hunter College in 2015, and attended the Skowhegan School of Painting and Sculpture in 2015. She has been a former participant in Shandaken's Paint School, The Hercules Art Studio Program, and The Keyholder Program at the Lower East Side Printshop in New York, NY, as well as a former resident at The Atlantic Center for the Arts in New Smyrna, FL, The Pajama Factory in Williamsport, PA, and Painting's Edge in Idyllwild, CA. Her work has been exhibited at Flag Art Foundation, Spring Break, Underdonk and Y2k Gallery among others. Publications include The New York Times, Hyperallergic, The Artist's Institute Hunted Book Series, and New American Paintings. Hope Mountain, Graphite and pigment stick on canvas, 52”x 39”, 2020 Burned-over District, Graphite on canvas, 60” x 45”, 2020

My guest today is composer Alexandra Garner, who actually never intended to work in music at all. Growing up Alex thought she was going to become an illustrator and draw covers for The New Yorker magazine. Becoming a composer never crossed her mind and she even assumed that composers were just “dead guys in powdered wigs”. It wasn't until she enrolled in an electronic music class during her freshman year of college, that she realized she could make her own sounds from scratch and combine them into anything she wanted. She has been praised as highly lyrical and provocative of thought by the San Francisco classical voice, mesmerizing by the New York times, and her music Regularly performed as the composer in residence of the Seattle Symphony. Links Website: https://alexandragardner.net/ Twitter: https://twitter.com/alexgardner Instagram: https://www.instagram.com/alexgardner/ Email: alex@alexandragardner.net Alexandra's composition "Coyote Turns"  Honesty Pill Links Online Business Accelerator 2.0 six month program Free Resource Library Facebook Group Mailing List About Alexandra Praised as "highly lyrical and provocative of thought" (San Francisco Classical Voice),"mesmerizing" (The New York Times), and "pungently attractive" (The Washington Post), the music of composer Alexandra Gardner (b. 1967) is thrilling audiences and performers alike with a clear, expressive sound and a flair for the imaginative and unexpected. She composes for varied instrumentations and often mixes acoustic instruments with electronics, blending lyricism, rhythmic exploration, textural constructions, and a love of sonic storytelling. Alexandra's compositions are regularly featured at festivals and venues around the world, including the Aspen Music Festival, Beijing Modern Festival, Centro de Cultura Contemporania de Barcelona, Festival Cervantino, Grand Teton Music Festival, The Kennedy Center, The Library of Congress, Merkin Hall, Strathmore Music Center, Symphony Space, and the Warsaw Autumn Festival. As the Seattle Symphony 2017-18 Season Composer-in-Residence, Alexandra spent several months in Seattle for composing and educational projects. Her new symphonic work, Significant Others, was commissioned by SSO and premiered on the orchestra's subscription series under the baton of Music Director Ludovic Morlot. She also led workshops with LGBTQ+ youth affected by homelessness to create a collaborative composition entitled Stay Elevated, which was performed by musicians of the symphony at the Seattle Art Museum, and directed the Merriman Family Young Composers Workshop, leading 10 pre-college students in a 12-week program culminating in a performance of world premieres. Recent projects include Fade for flute and soundtrack, commissioned by the National Flute Association, Hummingbird Dreams, commissioned by Astral Artists for pianist Natalia Kazaryan, and an adaptation of her orchestra work Just Say Yes for a consortium of wind ensembles. Current works in progress include a quartet for Sandbox Percussion and a work for flute, harp, and percussion commissioned by the American Harp Society. Among Alexandra's honors and awards are recognitions from American Composers Forum, ASCAP, Mid-America Arts Alliance, DC Commission for the Arts and Humanities, The National Endowment for the Arts, The Netherland-America Foundation, and the Smithsonian Institution. She is a recipient of the Vassar College W.K. Rose Fellowship in the Creative Arts, a 2018 Rubys Artist Project Grant from the Robert W. Deutsch Foundation, and most recently a 2020 Maryland State Arts Council Individual Artist Award. She has conducted residencies at the Atlantic Center for the Arts, Harvestworks, Liz Lerman Dance Exchange, The MacDowell Colony, and Willapa Bay AiR, and spent two years as a visiting composer at the Institut Universitari de l'Audiovisual in Barcelona, Spain. Her music is recorded on the Innova, Ars Harmonica, and Naxos labels. For the past several years, Alexandra has maintained a private teaching studio and coaching business. She helps composers lead creative and fruitful musical lives through coaching and mentoring, giving masterclasses and workshops, and facilitating dialog and discussion related to artistic career development and the nature of creativity. Alexandra holds degrees from The Peabody Institute of The Johns Hopkins University and Vassar College. She lives in Baltimore, MD with her wife and their very bossy cat Longfellow. For more information, please visit www.alexandragardner.net.

The specter of the Vietnam War looms large in Karin Cecile Davidson's debut novel, Sybelia Drive. Sybelia Drive centers on a young girl growing up in Central Florida with friends and neighbors whose lives are inalterably changed by the casualties of war. It is a coming of age novel filled with idyllic moments and heart crushing grief. Karin Cecile Davidson is an award winning writer and Interviews Editor for Newfound Journal. Her stories have appeared in Story Magazine, The Massachusetts Review, The Los Angeles Review and elsewhere. Her awards include a collaborative Ohio Arts Council & Fine Arts Work Center in Provincetown Residency, an Atlantic Center for the Arts Residency, a Studios of Key West Artist Residency, an Ohio Arts Council Individual Excellence Award, an Orlando Prize for Short Fiction, the Waasmode Short Fiction Prize, and a Peter Taylor Fellowship. Her fiction has been shortlisted in the Glimmer Train Short Story Award for New Writers and the Faulkner-Wisdom Writing Competition, among many others. She has an MFA from Lesley University and is an Interviews Editor for Newfound Journal.

The specter of the Vietnam War looms large in Karin Cecile Davidson's debut novel, Sybelia Drive. Sybelia Drive centers on a young girl growing up in Central Florida with friends and neighbors whose lives are inalterably changed by the casualties of war. It is a coming of age novel filled with idyllic moments and heart crushing grief.Karin Cecile Davidson is an award winning writer and Interviews Editor for Newfound Journal. Her stories have appeared in Story Magazine, The Massachusetts Review, The Los Angeles Review and elsewhere. Her awards include a collaborative Ohio Arts Council & Fine Arts Work Center in Provincetown Residency, an Atlantic Center for the Arts Residency, a Studios of Key West Artist Residency, an Ohio Arts Council Individual Excellence Award, an Orlando Prize for Short Fiction, the Waasmode Short Fiction Prize, and a Peter Taylor Fellowship. Her fiction has been shortlisted in the Glimmer Train Short Story Award for New Writers and the Faulkner-Wisdom Writing Competition, among many others. She has an MFA from Lesley University and is an Interviews Editor for Newfound Journal.

Let's connect our global literary community in a time of closed borders. Hear World Editions authors Adam Dalva, Esther Gerritsen, Adeline Dieudonné, Pierre Jarawan, Sisonke Msimang, and Amin Maalouf read from their works, discuss the current situation in their countries, and talk about what books mean to them during Covid-19. Adam Dalva’s writing has appeared in The New York Review of Books, The Paris Review, Tin House, and The Guardian. He teaches Creative Writing at Rutgers University and is a book critic for Guernica Magazine. Adam has received fellowships from the Atlantic Center for the Arts and the Vermont Studio Center. He is a graduate of NYU’s MFA Program, where he was a Veterans Writing Workshop Fellow. Adam’s bestselling comic book, Olivia Twist, was published by Dark Horse in Fall 2018. Esther Gerritsen is a Dutch novelist, columnist, and playwright. She made her literary debut in 2000. She is one of the most established, widely read, and highly praised authors in the Netherlands, and makes regular appearances on radio programs and at literary festivals. Esther Gerritsen had the honor of writing the Dutch Book Week gift in 2016, which had a print run of 700,000 copies. In 2014 she was awarded the Frans Kellendonk Prize for her oeuvre. Her book Craving was made into a film in 2018, and film rights have been sold for her novel Roxy, which was just published in English. Adeline Dieudonné is a Belgian author and lives in Brussels. Real Life, her debut novel, was published in France in Autumn 2018 and has since been awarded most of the major French literary prizes: the prestigious Prix du Roman FNAC, the Prix Rossel, the Prix Renaudot des Lycéens, the Prix Goncourt―Le Choix de la Belgique, the Prix des Étoiles du Parisien, the Prix Première Plume, and the Prix Filigrane, a French prize for a work of high literary quality with wide appeal. Dieudonné also performs as a stand-up comedian. Pierre Jarawan was born in 1985 to a Lebanese father and a German mother and moved to Germany with his family at the age of three. Inspired by his father’s imaginative bedtime stories, he started writing at the age of thirteen. He has won international prizes as a slam poet, and in 2016 was named Literature Star of the Year by the daily newspaper Abendzeitung. Jarawan received a literary scholarship from the City of Munich (the Bayerischer Kunstförderpreis) for The Storyteller, which went on to become a bestseller and booksellers’ favorite in Germany and the Netherlands. Sisonke Msimang is the author of Always Another Country: A memoir of exile and home. She is a South African writer whose work is focussed on race, gender and democracy. She has written for a range of international publications including the New York Times, the Washington Post, The Guardian, Newsweek and Al Jazeera. Born in Beirut in 1949, Amin Maalouf has lived in France since 1976. After studying sociology and economics, Maalouf joined the Lebanese daily An-Nahar, for which he travelled the world covering numerous events, from the fall of the Ethiopian monarchy to the last battle of Saigon. Forced to emigrate by the war in Lebanon, he settled in Paris, where he resumed journalism, and from where he started to travel again, from Mozambique to Iran and from Argentina to the Balkans. He became editor of the international edition of An-Nahar, then editor-in-chief of the weekly Jeune Afrique, before giving up all his posts to dedicate himself to literature. All authors' books available from your favorite indie bookstores, order from bookshop.org!

Adam Parker Smith was born in Arcata, CA in 1978. He is based in Brooklyn, NY. He received his BA from the University of California at Santa Cruz and his MFA from the Tyler School of Art. Adam attended the Skowhegan School of Painting and Sculpture and the Atlantic Center for the Arts. His work has been shown widely in the US and internationally at the Hole Gallery, Honor Fraser in LA, Derek Eller in NY, the Boulder Museum of Contemporary Art in Colorado, Ever Gold in San Francisco, Zidoun Gallery in Luxembourg, The Delaware Center for Contemporary Art, the Berkshire Museum in Massachusetts, The Soap Factory Minneapolis, Painted Bride in Philadelphia, Parisian Laundryin Montreal, and TSST Gallery in Hong Kong. Adam’s work has been written about in New York Times, Art in America, Beautiful Decay, The Village Voice, Fiber Arts, ArtForum.com, Art World, White Wall Magazine and The New York Post. Brian stopped over Adam’s studio, just a couple blocks from his own for a talk about drawing battles, the Suzuki method, moving from painting to sculpture, stolen art and much more. Sound & Vision is sponsored by Golden Artist Colors and the New York Studio School.

"She approaches words as reference points, rather than endpoints. By reimagining language, she exerts control over her sense of self.”—Los Angeles Review of Books ARISA WHITE is a Cave Canem fellow, Sarah Lawrence College alumna, an MFA graduate from the University of Massachusetts, Amherst, and author of the poetry chapbooks Disposition for Shininess, Post Pardon, Black Pearl, Perfect on Accident, and “Fish Walking” & Other Bedtime Stories for My Wife won the inaugural Per Diem Poetry Prize. Published by Virtual Artists Collective, her debut full-length collection, Hurrah’s Nest, was a finalist for the 2013 Wheatley Book Awards, 82nd California Book Awards, and nominated for a 44th NAACP Image Awards. Her second collection, A Penny Saved, inspired by the true-life story of Polly Mitchell, was published by Willow Books, an imprint of Aquarius Press in 2012. Her newest full-length collection, You’re the Most Beautiful Thing That Happened, was published by Augury Books and nominated for the 29th Lambda Literary Awards. Most recently, Arisa co-authored, with Laura Atkins, Biddy Mason Speaks Up, a middle-grade biography in verse on the midwife and philanthropist Bridget “Biddy” Mason, which is the second book in the Fighting for Justice series. Arisa was awarded a 2013-14 Cultural Funding grant from the City of Oakland to create the libretto and score for Post Pardon: The Opera, and received, in that same year, an Investing in Artists grant from the Center for Cultural Innovation to fund the dear Gerald project, which takes a personal and collective look at absent fathers. As the creator of the Beautiful Things Project, Arisa curates poetic collaborations that center narratives of women, queer, and trans people of color. Selected by the San Francisco Bay Guardian for the 2010 Hot Pink List, Arisa was a 2011-13 member of the PlayGround writers’ pool. Recipient of the inaugural Rose O’Neill Literary House summer residency at Washington College in Maryland, she has also received residencies, fellowships, or scholarships from The Ground Floor at Berkeley Rep, Juniper Summer Writing Institute, Headlands Center for the Arts, Port Townsend Writers’ Conference, Squaw Valley Community of Writers, Hedgebrook, Atlantic Center for the Arts, Prague Summer Program, Fine Arts Work Center, and Bread Loaf Writers’ Conference. Nominated for Pushcart Prizes in 2005, 2014, 2016, and 2018, her poetry has been published widely and is featured on the recording WORD with the Jessica Jones Quartet. A native New Yorker, living in central Maine, Arisa serves on the board of directors for Foglifter and Nomadic Press and is an advisory board member for Gertrude. As a visiting scholar at San Francisco State University’s The Poetry Center in 2016, she developed a digital special collections on Black Women Poets in The Poetry Center Archives. Arisa is as an assistant professor in creative writing at Colby College. For booking inquiries, contact Allison Connor at Jack Jones Literary Arts.

Alison McNulty is a multidisciplinary artist whose work engages the fragile, entangled nature of our relationship to the material world through a practice rooted in spatial and material poetics. She excavates and examines ubiquitous traces to speculate on the constructs underlying how we make meaning, assign value, and participate in social and ecological systems. McNulty often works with ordinary, but ontologically specific, reclaimed materials like brick, dust, hair, spider webs, architectural remnants, bits of eraser, plants, and rocks. Through a processing of matter that allows materials to interpret each other and their contexts, McNulty seeks to access the ambiguity and agency of things, knowledge, environments, relationships, and bodies as a way to shift consciousness towards ways we might know ourselves and surroundings as vulnerable, reciprocal, and more than human. McNulty’s projects emerge from an interdisciplinary research perspective and are informed by the natural sciences, ecology, archeology, poetics, theory, and philosophy. Animated by a deep sense of embodied attentiveness and curiosity toward the contexts she works within, she cultivates a collaborative attitude toward the human and non-human bodies and forces, entangled web of relations, and natural processes her work intersects through place and site. The ephemeral and contingent nature of her work is meant to exhibit an interrelated and evolving fragility, and to reveal and explore the ways we participate in larger material cycles and configurations through human and geological time. McNulty’s work includes ephemeral and interactive sculpture, architectural interventions, installation, site-responsive indoor and outdoor projects, video, photography, writing, and works on paper using salvaged and organic materials, which she calls “Embodied Drawings”. McNulty presents her work in a range of contexts, including university and commercial galleries and museums, alternative venues, unique private commissions, and mixed-use or unsanctioned sites.  She has participated in residencies at Stoneleaf Retreat, the Atlantic Center for the Arts, and created House Project, a self-made residency in an abandoned house, formalized with its owner.  She has had solo exhibitions at BAU Gallery, Beacon, NY and George’s Meet & Produce, Gainesville, FL.  Selected group exhibitions include venues such as Art Lot in Brooklyn, The Samuel Dorsky Museum at SUNY New Paltz, NY, Theoretical Archeology Group Conference, Syracuse, NY, Dusklit Interactive Art Festival, Sugar Loaf, NY, Wilderstein 5th Outdoor Sculpture Biennial, Rhinebeck, NY, Manifest Gallery, Cincinnati, OH, Collaborative Concepts Farm Project, Garrison, NY, Simultan Festival, Timisoara Romania, Des Lee Gallery St. Louis, and The Florida State Museum of Fine Arts, Tallahassee, FL, among others. She is currently producing work for Ineligible, a project associated with the initiative Art/Archeologies, as well as Whiterock Center for Sculptural Arts Summer Invitational, Holmes, NY, and Highbrook Studios Sculpture Garden, Pelham, NY. McNulty teaches at Parsons School of Design at The New School and the French-American School of New York.  She has also taught at Whitman College, the University of Florida, and Brooklyn College. McNulty earned her BFA from Washington University in St. Louis, and received an Alumni Fellowship from the University of Florida, where she completed her MFA. McNulty is currently based in the Hudson Valley, NY. The books mentioned in the interview are; Timothy Morton, Humankind: Solidarity with Nonhuman People and Maria Puig de la Bellacasa, Matters of Care: Speculative Ethics in More Than Human Worlds.  untitled (Hudson Valley Ghost Column 1) Dry-stacked historic Hudson Valley-made Lahey bricks and unprocessed Cormo sheep wool from a historic Hudson Valley fiber farm. Sited on a farm in Garrison, NY for Collaborative Concepts Farm Project. Memory of Water,

Chris Hunt is a comic book creator, writer and artist. Currently residing in his hometown of Westerville, Ohio, he arrived back there after 19 years in Boise, Idaho and 3 years in New York City. Inspired as a 9-year old boy to pursue comics as a full time career, it took him almost 20 years to finally fulfill the dream. His first full length graphic novel, CARVER: A Paris Story debuted from Z2 Comics as a limited series to great acclaim in late 2015, eventually garnering "2016 Graphic Novel of The Year" from IGN.com. Chris has worked for AMC, IDW Comics, Universal Music Group, Fat Possum Records as an artist, and has additionally lent his writing talent to Vertigo Comics alongside his friend and mentor, Paul Pope whom, Hunt studied under at The Atlantic Center for The Arts. Chris’s freelance work ranges from special creative services for brands like Filson to the graphic novel, Eden: A Skillet Graphic Novel, for the band Skillet. The music used in this episode comes from the feature documentary film, American Hemp. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/americanfilmmaker/support

Avi and Sajid get back together with Marc Bookman from the Atlantic Center for Capital Representation. Marc talks about his work on behalf of Kareem Johnson. He gives an update on Ricky Olds (https://soundcloud.com/user-139217541/14-going-on-life-without-parole). They also get an update on Krasner’s work in Philadelphia. The Atlantic Center put out video on Ricky Olds. See it here: https://www.youtube.com/watch?v=_XtySsPOP9w Marc refers to this article: https://www.theatlantic.com/national/archive/2013/08/the-confessions-of-innocent-men/278363/ Music in this episode is composed by @leeroservere, @omniboi, and @ryanperreault (fellow public defender)

photo by Lani Trock. Catalina Ouyang has had solo and two-person exhibitions at Selena Gallery (Brooklyn, NY), Make Room (Los Angeles, CA), Trestle Projects (Brooklyn, NY), PLUG Projects (Kansas City, MO), the Millitzer Gallery (St. Louis, MO) and fort gondo compound for the arts (St. Louis, MO). Her work has been included in group exhibitions at Kravets Wehby Gallery (New York, NY), ART021 Fair (Shanghai, China), Helena Anrather (New York, NY), the Zilkha Gallery at Wesleyan University (Middletown, CT), Anonymous Gallery (Mexico City, Mexico), fffriedrich (Frankfurt, Germany), like a little disaster (Polignano a Mare, Italy), projects+ gallery (St. Louis, MO), SPRING/Break Art Fair 2018 (New York, NY), Make Room (Los Angeles, CA), No Place (Columbus, OH), Rubber Factory (New York, NY), Gallery 400 (Chicago, IL), COOP Gallery (Nashville, TN), and Field Projects (New York, NY). She has attended residencies at the NARS Foundation (Brooklyn, NY), OBRAS (Evoramonte, Portugal), Atlantic Center for the Arts (New Smyrna Beach, FL), Mary Sky (Hancock, VT), and North Mountain (Shanghai, WV). Her writing has appeared in River Teeth, Cura Literary Magazine, the Blueshift Journal, and Little Fiction, with two Pushcart Prize nominations. She is a 2019 MFA candidate in Sculpture at Yale University. The books mentioned in the interview were Ghostly Matters and Salt Fish Girl. DEATH DRIVE JOY RIDE, 2018 Warlord in a Minivan, 2017

Kevin Robinson is a performer-composer, educator and multi-woodwind instrumentalist who explores various interdisciplinary approaches to composition and improvisation. He is a native of Baltimore, MD and is currently based in Oakland, CA. He has a MA in Composition Program from Mills College where he is studied with Roscoe Mitchell, Fred Frith, Zeena Parkins and others. He received his BFA in Jazz Reeds from California Institute of the Arts where he studied composition with Wadada Leo Smith and Vinny Golia. Robinson is the leader of the band The Kevin Robinson Ensemble (KREation) which was established in 2003. The group has recorded several studio albums. He has performed at various festivals and venues throughout the United States. Some highlights include performances at the Studio Museum in Harlem in New York City, The Made in LA 2012 Biennial, The Hammer Museum in LA, Artscape Festival in Baltimore and at The Outsound Festival in San Francisco. He has collaborated with dancers, poets, visual artist, writers and film makers -including visual artist Kenyatta A.C. Hinkle and Warren Niedrich – film makers Sola Bamis and Shirley Kim. He has also performed with the Ulrich Krieger Sextet, Marilyn Crispell, Nicole Mitchell, Wadada Leo Smith’s Creative Orchestra, the Vinny Golia Large Ensemble, Copper Root, Kuumba Collective, Warren Niedrich, the trio BRL and krautrock group Faust. He was a participant at the Jazz Composers Orchestra Institute (2012) at UCLA, a resident at Project Row Houses in Houston Texas (2013) and a resident at Atlantic Center for the Arts. The books he mentions in the interview are Footprints: The Life and Work of Wayne Shorter, Herbie Hancock Possibilities and Octavia Butler,  Lilith's Brood. KREation Ensemble, Outsound Festival 2018 San Francisco, Marilyn Crispell- Piano, Lee Hodel - Bass, Tony Gennaro -Percussion

Acclaimed young composer Viet Cuong joins the show to share his thoughts about band music, his work as a composer, and how growing up in the Lassiter band helped him fit in and find his place in the world. Topics: 
Viet’s background and how he got his start as a musician, percussionist, and composer. How band and music helped Viet “find his place” in the world and the importance of band as a place where kids who are struggling to feel accepted have a place where they can fit in and grow. Growing up in the legendary Lassiter Band Program under the baton of Alfred Watkins. Thought about what band directors can do to support young musicians who are writing music or want to become composers. Thoughts about academic music, new music for band, and some insights into building design at Princeton. The Blue Dot Collective Links: Viet Cuong, Composer The Blue Dot Collective Cuong: Diamond Tide Cuong: Moth Stravinsky: Rite of Spring Biography: Called “alluring” and “wildly inventive” by The New York Times, the “ingenious” and “knockout” (Times Union) music of Viet Cuong (b. 1990) has been performed on six continents by musicians and ensembles such as Sō Percussion, Eighth Blackbird, Alarm Will Sound, Sandbox Percussion, the PRISM Quartet, JACK Quartet, Gregory Oakes, Kaleidoscope Chamber Orchestra, Albany Symphony, Jacksonville Symphony, and Cabrillo Festival Orchestra, among many others. Viet’s music has been featured in venues such as Carnegie Hall, Lincoln Center, the Kennedy Center, Library of Congress, Cabrillo Festival of Contemporary Music, Aspen Music Festival, New Music Gathering, Boston GuitarFest, International Double Reed Society Conference, US Navy Band International Saxophone Symposium, and on American Public Radio’s Performance Today. He also enjoys composing for the wind ensemble medium, and his works for winds have amassed over one hundred performances by conservatory and university ensembles worldwide, including at Midwest, WASBE, and CBDNA conferences. Viet holds the Curtis Institute of Music’s Daniel W. Dietrich II Composition Fellowship as an Artist Diploma student of David Ludwig and Jennifer Higdon. Viet received his MFA from Princeton University as a Naumburg and Roger Sessions Fellow, and he is currently finishing his PhD there. At Princeton he studied with Steve Mackey, Donnacha Dennehy, Dan Trueman, Dmitri Tymoczko, Paul Lansky, and Louis Andriessen. Viet holds Bachelor and Master of Music degrees from the Peabody Conservatory of the Johns Hopkins University, where he studied with Pulitzer Prize-winner Kevin Puts and Oscar Bettison. While at Peabody, he received the Peabody Alumni Award (the Valedictorian honor) and the Gustav Klemm Award for excellence in composition. Viet has been a fellow at the Mizzou International Composers Festival, Eighth Blackbird Creative Lab, Cabrillo Festival’s Young Composer Workshop, Copland House’s CULTIVATE emerging composers workshop, and was also a scholarship student at the Aspen, Bowdoin, and Lake Champlain music festivals. Additionally, he has received artist residencies from Yaddo, Copland House, Ucross Foundation, and Atlantic Center for the Arts (under Melinda Wagner, 2012 and Christopher Theofanidis, 2014). Viet is a recipient of the Barlow Endowment Commission, Copland House Residency Award, ASCAP Morton Gould Composers Award, Suzanne and Lee Ettelson Composers Award, Theodore Presser Foundation Music Award, Kaleidoscope Chamber Orchestra Call for Scores, Cortona Prize, New York Youth Symphony First Music Commission, Boston GuitarFest Composition Competition, and Walter Beeler Memorial Prize, among others. In addition, he received honorable mentions in the Harvey Gaul Composition Competition and two consecutive ASCAP/CBDNA Frederick Fennell Prizes. Scholarships include the Evergreen House Foundation scholarship at Peabody, a 2010 Susan and Ford Schumann Merit Scholarship from the Aspen Music Festival and School, and the 2011 Bachrach Memorial Gift from the Bowdoin International Music Festival.

ORLANDO! There's so much art to experience this week. Don't let it go unappreciated. (Art gets sad when it goes unappreciated.)- This Saturday, UCF Flying Horse Editions: The Art of Collaboration opens at Atlantic Center for the Arts. Flying Horse Editions is a collaborative research studio for visual artists at the University of Central Florida. It offers visiting artists the opportunity to work with FHE technicians to push the boundaries of their work.- This Thursday is 3rd Thursday Orlando. Get out and experience tons of free art all thorughout Downtown Orlando. - Friday, Snap! Orlando opens their Summer / Fall 2018 Exhibition at the 420 East location. This year 40+ Florida artists are showcasing their work. - Lastly, have you been to Adults-Only Science Night Live? Every second Saturday, Orlando Science Center throws a 21+ event where visitors can do experiments, stargaze through telescopes, and watch movies in their theater all while enjoying adult beverages.There's no excuse to stay home this week. Get out and experience something!

Avi and Sajid took the podcast on the road to the Capital Case Defense Seminar in Monterey, CA. This episode is an interview with Marc Bookman. Marc is the co-director of the Atlantic Center for Capital Representation in Philadelphia, PA. The interview focuses on Marc's work on behalf of Ricky Olds. Ricky was sentenced to life without the possibility of parole for being present at a homicide when he was 14. Marc tells Ricky's story and describes how he challenged Ricky's sentence after the Supreme Court decided Miller v. Alabama. Marc's writing has been published in the Atlantic, Mother Jones, Slate, and Vice News. You can find his article about Ricky Olds here: https://www.vice.com/en_us/article/7bm9xe/ricky-olds-prison-juvenile-justice-sentencing-reform-america

Tracy Thomason was born in Gaithersburg, MD in 1984. She lives and works in Brooklyn, NY. Tracy received her BFA at the Maryland Institute College of Art in 2006, and her MFA at the Cranbrook Academy of Art in 2008. Her solo shows include Cuevas Tilleard Gallery, Tiger Strikes Asteroid and her current show at Marinaro Gallery. She’s had group exhibtiions at Impreial College London, Devening Projects in Chicago, 106 Green in Brooklyn, Greenpoint Terminal Gallery, TSA LA, Jeff Bailey Gallery, James Fuentes and many others. Her work has been covered in the New Yorker, Artinfo, The Brooklyn Rail, New American Paintings and several others. She attended the Atlantic Center for the Arts Residency with Dana Schutz in Florida and she recieved a Joan Mitchell Foundation Scholarship. She has taught at the Interlochen School for the Arts, Cooper Union, MICA, Drew University and the University of Tennessee. Brian met up with Tracy in her Brooklyn studio on the occasion of her solo show at Marinaro in the Lower East Side and they discussed her school days and destined path, her working as a personal chef, the materiality in her painting and even Alfred Lord Tennyson.

Suzanne Fetscher creates spaces for artists to change the world. For 18 years, she served as the founding president of the McColl Center for Art + Innovation, a contemporary art and artist-in-residency center, in Charlotte, North Carolina. Prior to her appointment, she served as Executive Director of the Atlantic Center for the Arts in New Smyrna Beach, Florida. She spent several post-graduate years teaching design and drawing, serving as adjunct instructor at Rollins College and at University of Central Florida, and as a full-time visiting instructor at Stetson University. She earned a BFA in Studio Art from the University of Central Florida and an MFA in printmaking from the University of Florida. This episode is perfect for anyone interested in arts administration and a story of arriving full circle in life.  IN THIS EPISODE Suzanne talks about her transition into retirement and how she is feeling emotionally about leaving the McColl Center for Art + Innovation. Suzanne talks about her transition into retirement and how she is feeling emotionally about leaving the McColl Center for Art + Innovation. She describes the mission and work of the McColl Center and what distinguishes it from other residency programs. She reflects on the origin of the McColl Center and how it has evolved. She discusses how she came to be hired at McColl Center and why she left her previous position at the Atlantic Center for the Arts. Suzanne shares what she is most proud of during her tenure at the McColl Center and what innovation has to do with it. She talks about what is happening at art institutions and in arts administration today. She shares where she grew up and her family life as a child. She discusses where she went to college and what she studied. Suzanne talks about the person she met as a coed who changed her life. She explains what she looks for when she looks at art and what makes art good. She tells a story about community engagement as artistic expression. Suzanne shares what the arts mean to her and what's next. To learn more, visit On Life and Meaning.  

Paco and George sit down with comedian/artist Kristina Wong to discuss LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD (2016). Along the way we learn about Kristina's practice, rapping in Uganda, trolling Trump on twitter, and our relationship to technology.Oscar®-nominated documentarian Werner Herzog (Grizzly Man, Cave of Forgotten Dreams) chronicles the virtual world from its origins to its outermost reaches, exploring the digital landscape with the same curiosity and imagination he previously trained on earthly destinations. Herzog leads viewers on a journey through a series of provocative conversations that reveal the ways in which the online world has transformed how virtually everything in the real world works - from business to education, space travel to healthcare, and the very heart of how we conduct our personal relationships.Kristina Wong was recently featured in the New York Times’ Off Color series. She is a performance artist, comedian and writer who has created five solo shows and one ensemble play that have toured across North America and the UK. Her most notable touring show– “Wong Flew Over the Cuckoo’s Nest” looked at the high rates of depression and suicide among Asian American women and toured dozens of venues across the United States since 2006. She’s been a commentator for American Public Media’s Marketplace, PBS, Jezebel, xoJane, Playgirl Magazine, Huffington Post and a guest on Comedy Central’s The Nightly Show with Larry Wilmore, Totally Biased with W. Kamau Bell, Al Jazeera’s “The Stream,” and AM Tonight on Fusion TV. She’s been awarded residencies from the MacDowell Colony, New York Theater Workshop, Ojai Playwrights Festival, Montalvo Center for the Arts, Hermitage, and Atlantic Center for the Arts.On television, she’s been on General Hospital, Nickelodeon’s “Nicky Ricky Dicky and Dawn,” and Myx TV’s “I’m Asian American and Want Reparations for Yellow Fever.” Her newest solo show “The Wong Street Journal” navigates White Privilege as an Asian American “Mzungu” in East Africa. She spent a month in Northern Uganda recording a hit rap album “Mzungu Price” with local rappers and doing research for that show. She has taught at Cal Arts in the MFA Creative Writing Program and twice given the commencement speech at UCLA, her alma mater.Follow us on:Twitter: @supdocpodcastInstagram: @supdocpodcastFacebook: @supdocpodcastsign up for our mailing listAnd you can show your support to Sup Doc by donating on Patreon.

Pacific Legal Foundation's Harold Johnson interviews Managing Attorney for PLF’s Atlantic Center in Florida, Mark Miller, and his client Jim Iwanicki, engineer manager for the Marquette County Road Commission in Marquette County, Michigan. PLF joined with Marquette County officials in appealing the U.S. Environmental Protection Agency’s unjustified veto of local road project, CR-595, that is vital for community safety and environmental health.

Tiziana Onstead, Cassidy Alexander and Luke Barber discuss their travel experiences with host Andre Roman. New Smyrna’s Atlantic Center for the Arts CoRK Heaven’s Gate

Poet and journalist celeste doaks is the author of Cornrows and Cornfields (Wrecking Ball Press, UK, March 2015). Cornrows was listed as one of the “Ten Best Books of 2015” by Beltway Quarterly Poetry. Her poem “For the Chef at Helios…” received a 2015 Pushcart Prize nomination. Her multiple accolades include a Lucille Clifton Scholarship to attend Squaw Valley Writers Workshop, the 2010 AWP WC&C Scholarship, and residencies at Atlantic Center of the Arts and the Fine Arts Work Center in Provincetown. Her journalism has appeared in the Huffington Post, Village Voice, Time Out New York, and QBR (Quarterly Black Book Review). Most recent poems can be found in Rabbit Ears: TV Poems an Anthology. Celeste received her MFA from North Carolina State University; she currently teaches creative writing at Morgan State University.Jane Satterfield is the recipient of awards in poetry from the National Endowment for the Arts, Maryland Arts Council, Bellingham Review, Ledbury Poetry Festival, Mslexia, and more. Her essays have received awards from the Pirate’s Alley Faulkner Society, Massachusetts Review, Florida Review, and the Heekin Foundation, among others. Her books of poetry are Her Familiars, Assignation at Vanishing Point, and Shepherdess with an Automatic. She is also the author of Daughters of Empire:  A Memoir of a Year in Britain and Beyond (Demeter Press). Born in England, she teaches creative writing at Loyola University Maryland. Read Five Poems in Beltway Poetry Quarterly by celeste doaks.Read “Parachute Wedding Dress” by Jane Satterfield.

Poet and journalist celeste doaks is the author of Cornrows and Cornfields (Wrecking Ball Press, UK, March 2015). Cornrows was listed as one of the “Ten Best Books of 2015” by Beltway Quarterly Poetry. Her poem “For the Chef at Helios…” received a 2015 Pushcart Prize nomination. Her multiple accolades include a Lucille Clifton Scholarship to attend Squaw Valley Writers Workshop, the 2010 AWP WC&C Scholarship, and residencies at Atlantic Center of the Arts and the Fine Arts Work Center in Provincetown. Her journalism has appeared in the Huffington Post, Village Voice, Time Out New York, and QBR (Quarterly Black Book Review). Most recent poems can be found in Rabbit Ears: TV Poems an Anthology. Celeste received her MFA from North Carolina State University; she currently teaches creative writing at Morgan State University.Jane Satterfield is the recipient of awards in poetry from the National Endowment for the Arts, Maryland Arts Council, Bellingham Review, Ledbury Poetry Festival, Mslexia, and more. Her essays have received awards from the Pirate’s Alley Faulkner Society, Massachusetts Review, Florida Review, and the Heekin Foundation, among others. Her books of poetry are Her Familiars, Assignation at Vanishing Point, and Shepherdess with an Automatic. She is also the author of Daughters of Empire:  A Memoir of a Year in Britain and Beyond (Demeter Press). Born in England, she teaches creative writing at Loyola University Maryland. Read Five Poems in Beltway Poetry Quarterly by celeste doaks.Read “Parachute Wedding Dress” by Jane Satterfield.Recorded On: Wednesday, October 26, 2016

eCareDiary's caregiving expert, Margery Pabst Steinmetz will speak to Jim Frost and Nancy Lowden, Co-Executive Directors at the Atlantic Center for the Arts in Florida about why arts and wellness programs feature prominently as part of their community outreach plans.

On May 31, 2016, the Supreme Court decided United States Army Corps of Engineers v. Hawkes Co., Inc. Hawkes Co. (Hawkes) applied to the Army Corps of Engineers (Corps) for a Clean Water Act permit to begin extracting peat from wetlands in northern Minnesota it was preparing to purchase. After attempting to discourage the purchase, and initiating various administrative processes, the Corps ultimately issued an Approved Jurisdictional Determination (Approved JD) asserting that the wetland contained waters of the United States, thereby creating a substantial barrier to development by Hawkes. Hawkes filed suit in federal district court to challenge the Approved JD, arguing that it conflicted with the U.S. Supreme Court’s interpretation of jurisdiction under the Clean Water Act. The district court dismissed the suit on the grounds that the Approved JD was not a “final agency action” as defined by the Administrative Procedure Act, and therefore not yet subject to judicial review. The U.S. Court of Appeals for the Eighth Circuit reversed that judgment and remanded the case, holding that an Approved JD did constitute final agency action ripe for judicial review. -- The question before the Supreme Court was whether the United States Army Corps of Engineers’ determination that the property at issue contains “waters of the United States” protected by the Clean Water Act, constitutes “final agency action for which there is no other adequate remedy in a court," and is therefore subject to judicial review under the Administrative Procedure Act. -- By a vote of 8-0, the Supreme Court affirmed the judgment of the Eighth Circuit. Chief Justice Roberts delivered the opinion of the Court, which held that an Approved JD is a final agency action judicially reviewable under the Administrative Procedure Act. The Chief Justice’s majority opinion was joined by Justices Kennedy, Thomas, Breyer, Alito, Sotomayor, and Kagan. Justice Kennedy filed a concurring opinion, in which Justices Thomas and Alito joined. Justice Kagan also filed a concurring opinion. Justice Ginsburg filed an opinion concurring in part and concurring in the judgment. -- To discuss the case, we have Mark Miller, who is Managing Attorney, Atlantic Center, Pacific Legal Foundation.

On March 30, 2016, the Supreme Court heard oral argument in United States Army Corps of Engineers v. Hawkes Co., Inc. Hawkes Co. (Hawkes) applied to the Army Corps of Engineers (Corps) for a Clean Water Act permit to begin extracting peat from wetlands in northern Minnesota it was preparing to purchase. After attempting to discourage the purchase, and initiating various administrative processes, the Corps ultimately issued an Approved Jurisdictional Determination (Approved JD) asserting that the wetland contained waters of the United States, thereby creating a substantial barrier to development by Hawkes. Hawkes filed suit in federal district court to challenge the Approved JD, arguing that it conflicted with the U.S. Supreme Court’s interpretation of jurisdiction under the Clean Water Act. The district court dismissed the suit on the grounds that the Approved JD was not a “final agency action” as defined by the Administrative Procedure Act, and therefore not yet subject to judicial review. The U.S. Court of Appeals for the Eighth Circuit reversed that judgment and remanded the case, holding that an Approved JD did constitute final agency action ripe for judicial review. -- The question before the Supreme Court is whether the United States Army Corps of Engineers’ determination that the property at issue contains “waters of the United States” protected by the Clean Water Act, constitutes “final agency action for which there is no other adequate remedy in a court," and is, therefore, subject to judicial review under the Administrative Procedure Act. -- To discuss the case, we have Mark Miller, who is Managing Attorney, Atlantic Center, Pacific Legal Foundation.

On this week's show, I talk to fiction writer and one-time memoirist Rick Moody, Rick Moody at the Atlantic Center for the Arts, New Smyrna Beach, Florida. Photo by John King. Plus I share his prose reading "Metal," with music by One Ring Zero. TEXTS DISCUSSED  Read Rick Moody's 14,000 word essay about David Bowie's The Next Day here.   John Lee Hooker, putting The Rolling Stones and Eric Clapton, in their places, when he was 72 years old. http://www.youtube.com/watch?v=BrPBUr0cAlg This soundtrack with John Lee Hooker playing with Miles Davis is deliciously good. Check out Episode 39, with my first interview with Rick, here. NOTES  R.I.P., Gabriel Garcia Marquez. Check out this indiegogo crowd-sourcing effort to bring St. Mark's Bookshop to a new home in the East Village.

The National Advocacy Call on Developing Legislation in June featured a discussion on sentencing and re-sentencing Juvenile Life Without Parole (JLWOP) cases post Miller. Speakers included, LaShunda Hill, state strategist, and John Hardenberg, Litigation Specialist both with the Campaign for the Fair Sentencing of Youth and Marc Bookman the Director of Atlantic Center for Capital Representation. Learn more about NACDL's State Criminal Justice Network. Angelyn C. Frazer, Host. Steven Logan, production supervisor. Music I Will! Rise Above (Jared C. Balogh) / CC BY-NC-SA 3.0. Running time: 54m 16s.