Podcasts about baroness elsa

In ihrem neuen Buch "Nackt war ich am schönsten" hat Veronika Peters eine Dada-Künstlerin zum Leben erweckt: Baroness Elsa von Freytag Loringhoven. Und nicht nur das: Sie hat sie einfach in unser Jahrhundert geholt, mitten in die nordhessische Provinz. Dort trifft sie auf Antonia, Mitte 40, die nach 20 Jahren zurückkehrt in ihr Heimatdorf und einiges aufzuarbeiten hat - begleitet von der wilden, scharfzüngigen Elsa. Anne-Dore und Veronika Peters treffen sich in den Hackeschen Höfen und unterhalten sich über die Freiheit der Phantasie, die Autonomie von Romanfiguren und darüber, wie viel die Dada-Künstlerin der Welt heute noch zu sagen hat. Das Buch Veronika Peters: "Nackt war ich am schönsten", Rowohlt Kindler, 320 Seiten, 24,00 Euro. Die Autorin Veronika Peters, geboren 1966, wurde gleich mit ihrem Debut bekannt: "Was in zwei Koffer passt. Leben im Kloster". Seit vielen Jahren lebt sie als freie Autorin in Berlin, zuletzt erschien "Das Herz von Paris". Der Ort Der erste der acht Hackeschen Höfe wurde von Elsa von Freytag Loringhovens erstem Mann, August Endell, gestaltet. www.hackesche-hoefe.de Veronika empfiehlt: Deborah Levy: "August Blau", aus dem Englischen von Marion Hertle, Aki Verlag 2023, 176 Seiten, 24,00 Euro. Anne-Dore empfiehlt: Gaea Schoeters: "Trophäe", aus dem Niederländischen von Lisa Mensing, Zsolnay 2024, 256 Seiten, 24,00 Euro. Gewinnen Sie ein signiertes Buch! Wer eine signierte Ausgabe von "Nackt war ich am schönsten" gewinnen möchte, sollte gut zuhören bei der aktuellen Folge von "Orte und Worte"! https://www.radiodrei.de/buch-gewinnen

Die Schriftstellerin Veronika Peters, 1966 geboren, wurde gleich mit ihrem Debut bekannt: "Was in zwei Koffer passt", in dem sie über ihre Jahre im Kloster schrieb. Seit vielen Jahren lebt sie nun als freie Autorin in Berlin und veröffentlicht regelmäßig Romane, zuletzt "Das Herz von Paris" über Frauen der literarischen Avantgarde. Jetzt ist ein neues Buch von ihr erschienen: "Nackt war ich am schönsten". Darin lässt die Autorin eine Dada-Künstlerin in der Jetzt-Zeit wiederauferstehen, eine, die es wirklich gab: Baroness Elsa von Freytag Loringhoven. Eine Buchbesprechung von Anne-Dore Krohn.

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Holly A. Baggett's Making No Compromise: Margaret Anderson, Jane Heap, and the Little Review (Northern Illinois UP, 2023) is the first book-length account of the lives and editorial careers of Margaret Anderson and Jane Heap, the women who founded the avant-garde journal the Little Review in Chicago in 1914. Born in the nineteenth-century Midwest, Anderson and Heap grew up to be iconoclastic rebels, living openly as lesbians, and advocating causes from anarchy to feminism and free love. Their lives and work shattered cultural, social, and sexual norms. As their paths crisscrossed Chicago, New York, Paris, and Europe; two World Wars; and a parade of the most celebrated artists of their time, they transformed themselves and their journal into major forces for shifting perspectives on literature and art. Imagism, Dada, surrealism, and Machine Age aesthetics were among the radical trends the Little Review promoted and introduced to US audiences. Anderson and Heap published the early work of the "men of 1914"―Ezra Pound, James Joyce, William Butler Yeats, and T. S. Eliot―and promoted women writers such as Djuna Barnes, May Sinclair, Dorothy Richardson, Mina Loy, Mary Butts, and the inimitable Baroness Elsa von Freytag-Loringhoven. In the mid-1920s Anderson and Heap became adherents of George I. Gurdjieff, a Russian mystic, and in 1929 ceased publication of the Little Review. Holly A. Baggett examines the roles of radical politics, sexuality, modernism, and spirituality and suggests that Anderson and Heap's interest in esoteric questions was evident from the early days of the Little Review. Making No Compromise tells the story of two women who played an important role in shaping modernism. Jane Scimeca is Professor of History at Brookdale Community College. @JaneScimeca1 Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

In this episode, we delve into the life and strange behavior of Baroness Elsa von Freytag-Loringhoven, an avant-garde artist and poet known for her eccentricities and unconventional ways. From her provocative fashion sense to her bizarre performance art, we examine how she challenged the norms of her time and influenced the Dada movement.Next, the remarkable survival story of Poon Lim, a Chinese sailor who spent 130 days alone on a raft in the South Atlantic during World War II. With no food, water, or communication tools, Poon Lim had to rely on his wits and resourcefulness to stay alive in the harsh conditions of the open sea. Join us on this captivating journey through history as we uncover the fascinating lives of Baroness Elsa von Freytag-Loringhoven and Poon Lim. Whether you're a history buff, a survival enthusiast, or simply curious about human nature's eccentricities, this episode will surely captivate and intrigue you.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Eve Eurydice speaks with Rene Steinke of our growing hunger for spirituality. In a culture that mitigates the shock of our mortality through NFT Blockchain dream states and meta-sublimation rather than divine ritual in sync with the cycles of nature, that has replaced magic with coding, math, and disembodied commerce, religious people, creative people, spiritual people, ethical people, wellness people are looking for paths to transformation using repurposed languages of religion (see the shallow sentimentality of TED talks). We all have the religious impulse. Love is a crucible where we alchemically meet and merge into one; love requires trust, faith, and self-abnegation. Humans can only reclaim faith by self-sacrifice. We give something up to gain god. We cleanse the pressure of culture to regenerate it. Pre-institutional religion is transgressive. We have lived through the thesis of patriarchy for 6 millennia. We are now in anthithesis. Now there is messy overexcess because we are in decline. and Art can clarify that. The genius of art is that it sees that the contradictions do not exist. The way we resynthesize must be painful. It's how transformation works; it's painful. (Read Ovid.) We can only rediscover faith in each other, in God, in Nature, outside the names we now use and narratives we parrot. America was settled by people of profound religious need and purity. Evangelicals' literal reading of biblical texts and willful ignorance of the poor in favor of ME ME ME individualism is a textbook example of how religion can be turned into dogma and the need for salvation into social control. The anti-elite sentiment of born again believers is capitalized to preserve the interests of obscene capital. The early Christian pre-organized community was matriarchal. The Mary Magdalene gospel found in the old scrolls didn't make it into the canon. The feminist reclaiming of Christianity failed. Rene speaks of the artist Hilma af Klint and her relationship to religion and spirituality. Like Blavatsky in the Theosophical Society, she held seances with female friends seeking an intuitive vision outside of patriarchy. Art used to be religious. Post Enlightenment, art became commerce. Embroidery is still a meditative practice. Hand-writing is still a meditative practice. Both counterbalance our Computational Culture. Eurydice sees the primacy of Mind over Body as detrimental to our culture and indicative of civilizational decline. Rene Steinke is the author of the novels The Fires, Holy Skirts, and Friendswood. Holy Skirts, a novel based on the life of the Baroness Elsa von Freytag-Loringhoven, was a finalist for the 2005 NBA. ⚡️ For podcast, merch, art, go to https://Eurydice.net and https://SpeakwithEve.com For Apple podcast go to https://podcasts.apple.com/us/podcast/speak-sex-w-eve/id1448261953?uo=4 ☀️For videos, go to https://www.youtube.com/eveeurydice

**This episode contains brief mentions of suicide and suicide attempts, as well as some humorous profanity**   In this edition of the Dead Ladies Show Podcast, DLS co-founder Florian Duijsens introduces us to the eccentric Dada artist Baroness Elsa von Freytag-Loringhoven.  An eternally eclectic, German-born New Yorker, the Baroness was known for living life as a work of art, wearing a collage of found items, from tin cans to postage stamps to live birds, seducing almost everyone she met, and creating mind-blowing poetry and sculptures, and never making money for her art, leading to her poverty. These days, she deserves some reclaimed recognition for creating the found art genre known as Readymades, including a particular infamous sculpture credited to French artist Marcel Duchamp (or Marcel Dushit, as the Baroness called him). DLS other co-founder Katy Derbyshire joins producer/host Susan Stone to introduce the show, which was recorded in front of a live audience of enthusiastic college students as part of the Bard College Berlin event Pankumenta back in 2019.  Find our more about Baroness Elsa von Freytag-Loringhoven and see her art and self-fashioned fashions on our show notes page here: https://deadladiesshow.com/2021/10/16/podcast-47-elsa-von-freytag-loringhoven/ Our theme music is “Little Lily Swing” by Tri-Tachyon. Thanks for listening! We'll be back with a new episode next month.  **** The Dead Ladies Show is a series of entertaining and inspiring talks about women who achieved amazing things against all odds, presented live in Berlin and beyond. This podcast is based on that series. Because women's history is everyone's history. The Dead Ladies Show was founded by Florian Duijsens and Katy Derbyshire. The podcast is created, produced, edited, and presented by Susan Stone. Don't forget, we have a Patreon! Thanks to all of our current supporters! Please consider supporting our transcripts project and our ongoing work: www.patreon.com/deadladiesshowpodcast If you prefer to make a one-time donation, here's the link: paypal.me/dlspodcast

When Pop Art hit its peak in the 1960s, artists embraced polkadots, popular culture, and consumerism. If you're curious about how soup cans and comics became fine art, join Klaire Lockheart as she shares the details of this Modernist art movement. Artists and Artwork: Yayoi Kusama (Accumulation No. 1, Aggregation: One Thousand Boats Show, Infinity Mirror Room [Phalli's Field], All the Eternal Love I have for the Pumpkins), Georgia O'Keeffe, Baroness Elsa von Freytag-Loringhoven, Andy Warhol (Campbell's Soup Cans, Marilyn Diptych, Cow Wallpaper), Lynn Goldsmith, Claes Oldenburg and Patty Mucha (Soft Calendar for the Month of August), Coosje van Bruggen and Claes Oldenburg (Spoonbridge and Cherry), and Roy Lichtenstein (Look Mickey, Drowning Girl) Additional Topics: Appropriation, Intersectionality, Soft Sculpture, Jason Pargin (What the Hell Did I Just Read), Abstract Expressionism, Clement Greenberg (“Avant-Garde and Kitsch”), Marilyn Monroe, Serigraphy, Comic Books, CMYK Printing, and Ben-Day Dots klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Dadaists made photomontages, sculptures, and readymades that were weird and absurd. Artists such as Hannah Höch, Baroness Elsa von Freytag-Loringhoven, and Marcel Duchamp pushed the boundaries of what could be considered art. If you've ever felt like the world doesn't make sense, then you'll want to tune in for Klaire Lockheart's explanation of Dada. Art and Artwork: Marcel Duchamp (Fountain ), Jean/Hans Arp (Collage Arranged According to the Laws of Chance), Sophie Tauber-Arp (Dada Head), Hannah Höch (Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic, Indian Dancer: From an Ethnographic Museum), Raoul Housmann, Alfred Stieglitz, Baroness Elsa von Freytag-Loringhoven (Enduring Ornament, God, Fountain), Morton Schamberg, and André Breton Additional Topics: Existential Crisis, World War I, Hugo Ball, Emmy Hennings, Cabaret Voltaire, Tristan Tzara, World War II, “The Painter,” American Society of Independent Artists, Beatrice Wood (“The Richard Mutt Case”), and Richard Mutt klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Filmmaker MM Serra discusses her extraordinary film work. Serra's work often incorporates documentary in a textural exploration of the film medium. Her films empower the viewer by allowing them to share in the empowerment of her film's subjects, often real people pushed to, or testing limits, but always viewed in the most humane and approachable manner. As Jonas Mekas put it: they are REAL films about REAL people "One of the most difficult things to do in cinema." Filmmakers discussed in this episode include: Jonas Mekas Marcel Duchamp Shirley Clarke Josh Lewis Carolee Schneemann Abel Ferrara Todd Browning Writers discussed in this episode include: Baroness Elsa von Freitag Loringhoven

Emma and Gil chat with Sam Rosenthal and Stephen Bell of The Game Band, known for their bizarre cosmic horror sports sim Blaseball. We discuss the unique feedback loop between Blaseballs fans and its creators, the benefits of apophenia, and how baseball was uniquely suited for this treatment at this moment in history. SHOW NOTES 7m00s: The score bug that Gil is referring to is the graphic that appears overlaid on most sports broadcast, showing the game's score and other vital stats. Gil also refers to external chest protectors that baseball umpires used to wear, an icon of baseball from decades past. 7m59s: The Blaseball wiki. 10m00s: The music that Stephen refers to is literal fan-made music. Fan canon says that the team the Seattle Garages are actually a rock band forced to play Blaseball. Fans have actually recorded and released these albums. 19m05s: Here's Cat Manning's excellent Blaseball primer. It's a good way to get a sense of the lore of the game. 22m11s: We chatted with game designer and wide receiver Adrienne Smith in Ludology 240 - Are You Receiving Me? 26m15s: Apophenia is the tendency to make connections between disconnected things. Game designers can use it to make meaningful experiences and memorable stories, but other people can use it for very bad things. 27m42s: Kayfabe is a wrestling term that denotes the acceptance of the fictionalization of staged events. In other words, a wrestling announcer working in kayfabe will treat a match as if it is a genuinely-contested sporting event with an uncertain outcome, not a scripted match in which all participants know the winner ahead of time. Kayfabe is very much another example of a magic circle. You can hear Geoff Engelstein and Ryan Sturm discuss the magic circle with game designer Eric Zimmerman in Ludology 79 - The Magic Circle. 29m34s: SIBR is the Society for Internet Blaseball Research. Their name is a reference to SABR, the Society for American Baseball Research. (In real-world Major League Baseball, SABR is the organization that devised "sabermetrics," the advanced statistics that powered the Moneyball movement.) SIBR has written several academic papers analyzing the effects various aspects of Blaseball. 32m54s: Taskmaster continues to be one of Gil's favorite shows. 35m44s: Uncharted is a series of video games about uncovering historical mysteries around the world, and killing a lot of bad guys in the process. 44m02s: More info on Twitch Plays Pokémon. Also, Our Place, a MUD. 48m17s: More info on the John Cage composition As Slow As Possible (Gil misstated the title as "As Long As Possible"). You can watch a video of one of the note changes here. Also, Gil should have mentioned the 10,000 Year Clock, a clock that is being built within a Texas mountain of Texas (funded by Jeff Bezos) that will be designed to run 10,000 years without any human intervention. This is not the kind of scale humans are used to thinking in, which is what makes these projects so strange and intriguing. 53m04s: Welcome to Night Vale is highly recommended for anyone intrigued by the idea of comic cosmic horror. For example... "The City Council announces the opening of a new dog park at the corner of Earl and Sommerset near the Ralph’s. They would like to remind everyone that dogs are not allowed in the dog park. People are not allowed in the dog park. It is possible you will see hooded figures in the dog park. Do not approach them. Do not approach the dog park. The fence is electrified and highly dangerous. Try not to look at the dog park, and especially do not look for any period of time at the hooded figures. The dog park will not harm you." 55m51s: Baseball has several "unwritten rules" of decorum. One of them is that bunting to break up a no-hitter tends to be frowned upon. It happens every few years; in 2019, a minor-league team broke up a combined no-hitter in the 9th inning with a bunt, which resulted in a benches-clearing altercation.  1h00m42s: Here is the Blaseball Discord server. 1h05m40s: Gil is referring to Marcel Duchamp's readymade sculpture Fountain (although there are rumblings that the piece was actually made by Baroness Elsa von Freytag-Loringhoven). Afterwards, Gil refers to the Star Trek: The Next Generation episode Chain of Command, in which a Cardassian tortures Jean-Luc Picard by inflicting pain if Picard does not claim he sees five lights when in fact there are only four in front of him (which itself is a reference from a scene in 1984). 1h06m57s: "The Commissioner Is Doing A Great Job" is a common Blaseball meme. The Coffee Cup was the most recent season of Blaseball before this recording, which was a knockout tournament of nontraditional Blaseball teams instead of a "traditional" season (whatever that means). 1h08m03s: Twitter links: The Game Band, Blaseball, Sam Rosenthal, and Stephen Bell. Here is Blaseball's Patreon. 1h10m16s: Guess which blaseball team Gil follows?

On this week's Into the Absurd, we talk about collaboration and connectedness through the study of Avant-Garde art and practice in Philadelphia, with John Heon andDavid McKnight, who shepherd the conversation and programming at PASC, The Philadelphia Avant-Garde Studies Consortium. The avant-garde is flexibility of mind. And it follows like day, the night from not falling prey to government and education. Without the avant-garde nothing would get invented.” — John CageIt’s been a banner year for absurdity, and the contemplation of the absurd has been one of the most salient features of avant-garde art and thought from the nineteenth century to the present. From Kierkegaard, Nietzsche, and Heidegger, to Camus, Sartre, and Baudrillard; from Jarry, Stein, and Kafka to Ionesco, Beckett, Artaud, and Kathy Acker; from Duchamp, Kurt Schwitters, Baroness Elsa, and Dali to Bruce Nauman, Carolee Schneemann, and Jenny Holzer; from Schoenberg, Cage, and Glass, to Frank Zappa, The Talking Heads, and Père Ubu (the band), the modern mind has grappled with life in an increasingly entropic and violent world that seems to crush meaning, justice, and individual agency.John Heon, a founding co-director of the Philadelphia Avant-Garde Studies Consortium, is an independent scholar specializing in the psychology, politics, and aesthetics of humor in modern/postmodern literature and visual art. His essay, “Twisted Witz: Experiments in Psychopathology and Humor by Dr. Faustroll and His Pataphysical Progeny,” will appear in the forthcoming book, Pataphysics Unrolled, published by the Refiguring Modernism series of Penn State University Press.His book in progress, Articulate Art: Language, Literature, and Humor in the Works of Bruce Nauman, examines Nauman’s oeuvre in the context of avant-garde black humor and the comic theories of Nietzsche, Freud, Bergson, and Wittgenstein.John holds a doctorate in English with a concentration in psychology and the history of science from the University of Pennsylvania, where he received the Arts and Sciences Distinguished Teaching Award. He has also taught at the University of Wisconsin-Madison, Marquette University, and in the Education Department of the Phillips Collection, America’s first museum of modern art. David McKnight is Director of the Annenberg Rare Book and Manuscript Library at the University of Pennsylvania Libraries. Prior to accepting the position at the University of Pennsylvania in 2006, he was Director of the Rare Book and Manuscript Library and Head of the Digital Collections Program at McGill University Libraries where he worked in various roles for fifteen years. A past president of the Bibliographical Society of Canada, McKnight is currently founding Co-Director of the Philadelphia Avant-Garde Studies Consortium and a member of both the Grolier Club (New York) and the Philobiblon Club (Philadelphia).In 2014, David in collaboration with John Heon, Katie Price and several others founded the Philadelphia Avant-Garde Studies Consortium, a non-profit arts and advocacy group devoted to exploring the past, present and future of the avant-garde’s place in Philadelphia cultural history.In 2018, David curated an exhibition focused on Modernist Literary Publishing at the University of Alberta and in 2019 he curated an exhibition on the legendary Gotham Book Mart entitled “Wise Men Fished Here.” At the present time, he is working on an exhibition related to Andy Warhol. https://www.youtube.com/watch?v=-5ohS4uPLJQ

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

We’re back for a bonus episode related to one of our “shock art” shows this past season: who is really responsible for creating the infamous urinal readymade, Fountain? Welcome to one of the art world’s latest scandals, and meet a truly unforgettable woman: the Baroness Elsa von Freytag-Loringhoven. Please  SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram   SPONSORS The Great Courses Plus (get a free month using our link) ThirdLove (use our link to get 15% off) UTEP (for more details, check out the link)   Learn more about your ad choices. Visit megaphone.fm/adchoices

Í Lestinni í dag er meðal annars fjallað um Notre dame kirkjuna í París þar sem upp kom eldur í gær. Kirkjan var reist á árunum 1163 til 1345, geymir mikla menningarsögu og skipar stóran sess í hjörtum Frakka. Gestur Lestarinnar verður Ragnheiður Gyða Jónsdóttir sem bjó lengi í París og þekkir sögu Kirkju vorrar frúar mjög vel. Fontain, Uppsprettan, er listaverk sem margir hafa klórað sér í hausnum yfir. Árituð klósettskál úr öllu samhengi. Lengst af hefur verkið verið eignað listamanninum Marcel Duchamp en spurningar hafa vaknað um það hver raunverulegur upphafsmaður þess sé. Mögulega er það listakonan Baroness Elsa von Freytag-Loringhoven. Rætt verður um þetta dularfulla listaverk og eignaréttinn á því í Lestinni í dag, gestur þáttarins verður Benedikt Hjartarson bókmenntafræðingur. Í pistli sínum í dag heldur Tómas Ævar Ólafsson áfram Evrópu-ferðalagi sínu og endar að þessu sinni í Sansevero-kapellunni í Napólí sem reist var á 16. öld. Í kjallara byggingarinnar rekst hann á óhugnanlega fyrirboða um framtíðarmanneskjuna og segir frá í þætti dagsins. Og Halldór Armand Ásgeirsson rithöfundur flytur pistil í Lestinni á þriðjudegi og fjallar í dag um handtökuna á ástralska blaðamanninum Julian Assange, stofnanda Wikileaks.

Porn filmmaker and painter Ingrid Mouth talks about making weird custom porn for clients, making a semi-autobiographical graphic novel featuring super intelligent cat people, and staying creative through chronic illness.  Plus: Drawing them in with the boobs | Comedy porn| The inherent ridiculousness of porn | Porn parodies | Being a Scifi nerd| Writing trekkie jokes for her Star Trek gang bang porn | Being a picky bitch| Porn as a full time job for a middle class income| Making art with chronic illness | Translating the entirely of your life’s experiences into a visual representation | Smutty cat comics | Learning stop-motion claymation | Dick demons and orifice monsters | What we’re attracted to is often influenced what we see. Narrow definitions of what's sexy hurt everyone’s sexuality    Learn more about Ingrid: Buy Overshare Party: https://www.etsy.com/shop/IngridMouth Ingrid on Twitter: https://twitter.com/ingridmouth   Intro and Outro Notes:  Baroness Elsa von Freytag-Loringhoven Marcel DuChamp didn't submit "the Fountain":   https://seeallthis.com/ More about the Baroness: https://timeline.com/baroness-elsa-dada-poetry-ceef0930cd47 BawdyStorytelling.com Artgasm on Patreon: http://patreon.com/artgasm          

'A Dozen Cocktails Please' by Baroness Elsa von Freytag-Loringhoven read by Lauren Hall. 'A Dozen Cocktails Please' was published in 1927 in The Little Review. A transcript can be found athttp://www.writing.upenn.edu/~afilreis/88v/dozen.html More from Lauren Hall can be found at http://lauren-hall.com/home.html

Marcel Duchamp is considered one of the great artists of the 20th century, but was his greatest achievement - Fountain - a urinal bearing the signature R. Mutt, the work of someone else? The original Fountain has long been lost, and for many decades forgotten, but in the 1950's became such a talking point again that Duchamp decided to manufacture up to a possible 17 copies - one of which stands proud, under glass, in the Tate Modern. Earlier this century a poll of 500 art historians voted it the most significant art work of the 20th century, for the questions it raises about art and the artist, but although the importance of 'Fountain' in the history of art is undisputed, is it certain the artist was, in fact, Duchamp? And if it wasn't him, then who was it? Join the dots, and the paint brush of history seems to point at the Baroness Elsa von Freytag-Loringhoven - a truly free spirit and radical artist, who Duchamp called 'the future'. The smoking gun is a letter written in 1917 by Duchamp to his sister Suzanne, stating "One of my female friends" had submitted the urinal as a sculpture to the exhibition, "the pseudonym Richard Mutt". True, false, or just a fascinating theory... its one that throws an interesting light over one of the most significant works of the 20th century. Steve Punt dons galoshes and heads for the nearest convenience. Producer: Sara Jane Hall.

Talks & Readings Thursday, October 1, 7pm Artists Space Books & Talks 55 Walker Street Ariana Reines will open the evening with a reading of “Littoral Madness”, a section from Chris Kraus’ forthcoming critical biography of Kathy Acker, and will complete the evening with readings of her poetry. In between two talks will be delivered by Melissa Gordon and Meredyth Sparks on the value of presence in art in relation to gender, history and genius. Melissa Gordon will discuss her research into female artists who have “dropped out” of the art world, framing their actions within the wider context of feminist art’s expansion / rejection of authorship, and attempting to debunk the assumptions of failure surrounding the gesture of being absent. Touching on the fallible notion of ‘the original’ and the problematic gesture of “aggregating” as recently written about by David Joselit, Gordon will consider recent court cases around authorship in order to question where the boundaries of an artist persona / authorship are mapped in the contemporary playing field. She will discuss Cady Noland’s essay “Towards a Metalanguage of Evil”, published in the Documenta IX catalogue in 1992, as a key to understanding the “game” in which presence and absence operate. Meredyth Sparks will address the structural problems that arise in attempting to integrate “recovered” or “overlooked” artists into an art historical canon, as well as the complexities surrounding authorship as it relates to gender. Sparks will focus on two artists, the Baroness Elsa von Freytag-Loringhoven and Eileen Gray, both of whom made significant contributions to modern art, poetry and architecture, respectively, but who have only recently begun to be recognized within primary historical narratives. The Baroness Elsa von Freytag-Loringhoven (1874 – 1927) was a German-born poet, sculptor and proto-performance artist whose influence on and shaping of Dada have been, until recently, marginalized and misunderstood. New research by the Baroness’s biographer, Irene Gammel, among others, uncovers evidence to suggest that Marcel Duchamp’s Fountain (1917), arguably the most significant artwork of the 20th century, was perhaps a work by the Baroness. Eileen Gray (1878- 1976) was an Irish-born designer and architect whose house, E. 1027 (1926-29), had for many years been attributed to Le Corbusier. This misattribution stems, in large part, to an (in)famous act of “claiming” on Le Corbusier’s part, a physical and conceptual appropriation that has only recently begun to be reconsidered by historians. With this discussion, Sparks hopes to examine how these artists’ contributions have, in the best case scenario, been misattributed or, in the worse case, intentionally claimed. Re-visiting these placards might open a new art historical or studio-based space for production where, instead of merely correcting or righting a dominant narrative, we might conceive of art and history as an accumulation (rather than a singular realization or articulation) of ideas and methods. For more information click here artistsspace.org/programs/presence-and-absence This public event was part of We (Not I), a four-day program of discursive meetings, presentations, and events bringing together a wide range of female artists, writers, curators and thinkers identifying with feminist practices to exchange and produce content addressing questions around the role of "we" in contemporary art practice, held at Artists Space between September 30 and October 3, 2015. For more information click here artistsspace.org/programs/we-not-i By request of the author, Ariana Reines' reading of Chris Kraus' chapter "Littoral Madness" has been removed from this recording.