Podcasts about Carriageworks

This week we try out new Sydney spot Paradise from the Fratelli Paradiso team, discuss why the Riki Lindhome/Heather McDonald pod was our super bowl, ask why are so many lesbians coming out as Hetero-curious, consider Lil Wayne's vulnerability, Marc Maron having reached the peak of the pod summit, Alex Cooper's upcoming doc, and rave about seeing Kamasi Washington live at Carriageworks.For a deeper dive into our world visit us at http://weirdertogether.substack.com

We're not the only ones questioning fashion at this time of year.Despite the AFC's best efforts to re-exclusify a ‘reclaimed' Fashion Week, Carriageworks was still pulsing with big egos in big looks vying for airtime via vox pops. (Look up “Who's the Final Boss of Micro Trends?” if you care.)No matter, because inside was where the real news happened.Here's a question: what happens when you mix four passionate First Nations women with a privileged white Mansplainer?Pop the kettle on and settle in because you're about to find out…Email any questions or comments (using the codeword ‘Acorn' in the subject line) to questioningfashionpodcast@slogue.com.auWe'd love a review on Apple PodcastsAnd follow us here..instagram.com/questioningfashionpodcastinstagram.com/jogambaleinstagram.com/alidibleytiktok.com/@bellstreet This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit questioningfashion.substack.com

Today we’re joined in the studio by Sophie Penkethman-Young – artist and digital producer living and working on Gadigal Land Sydney. Sophie’s work has exhibited at Artspace (2025), Seventh Gallery (2019), Verge Gallery (2021), Liveworks and Mais Wright while she’s produced digital work for the Sydney Opera House, Creative Australia, Carriageworks and Firstdraft as well as right here at FBi! Sophie’s work deals with how ideas and experiences translate digitally and incorporates mediums like video, essay, sculpture, photography and performance. Sophie’s work has us obsessed with the questions of what separates the organic world from the digital, her digital projects and sculptures invokes feelings of surveillance, the fracturing of the individual into countless duplicates and a whole bunch of other ideas that we get into today! This episode was hosted by Kate Saap, produced by Zaity Salman and edited by Madison Jackson. LINKSSophie's website Sophie's exhibition , AMONGST THE CLOUDS on NOW until 20 July 2025 Sophie's Instagram Kate's InstagramSee omnystudio.com/listener for privacy information.

Vivid Live is the accompanying music program that supports the spectacular light festival Vivid held annually across winter in Sydney. It comprises a multitude of performances at both Carriageworks and the Sydney Opera House as well other prominent locations such as City Recital Hall and Tumbalong Park to name a few. Julian Ramundi from Destinations [...]Read More... from Julian Ramundi Destinations NSW Highlights Vivid Live

I am joined by Ryan from NCW Northern Championship Wrestling They have their debut show on the 21st Feb at The Carriageworks in Leeds and it is stacked Keg Stacker Vs Axl The Klown Vs Seb Mercer for starters The awesomeness of Alton Thorne, Keg Stacker & Isaac North The Street fight matches ft BA Rose Alton Keg and Tim Strange Doing the first show for free The atmosphere they are aiming for, don't forget to bring a sign Also the new Wrestling school in Leeds Madhouse

Brendan joins Regina Botros to talk about his latest work Hamlet Camp on at the Carriageworks till the 25th January. A laugh out loud look at acting and the roles that haunt you!  Brendan Cowell, Ewen Leslie, and Toby Schmitz – three stars of Australian stage and screen – come together for the first time for the world premiere of Hamlet Camp, a night of poetry, pith and play.  Photo credit: Daniel Boud

Legendary photographer William Yang has spent decades transforming his photography into captivating live theatre via the medium of the slide show. In his latest performance, Milestone, which is coming to the Sydney Festival and Asia TOPA, Yang shares a lifetime of stories, from his boyhood in Cairns, to his various 'coming-outs', to the freedom — and fear — of life as a gay man in Sydney in the 1970s and 80s.Also, Siegfried & Roy: The Unauthorised Opera tells the duo's dazzling story of fame and tragedy, and we meet actors Brendan Cowell, Ewen Leslie and Toby Schmitz as they compare notes on playing the role of Hamlet.

I am so excited to say that my guest on the GWA Podcast is the renowned German painter, Katharina Grosse. Hailed for her site-specific paintings which she spray-paints onto rocks, walls, landscapes and architecture, Grosse's works explode with luminous colour. Working both indoor and outdoor, she upends all traditions when it comes to painting: dissolving framing devices, vantage points, or a clear indication of where a work begins and ends. Witness one of her all-engulfing work in person, and your perspective constantly shifts: from afar they feel like giant swathes of colour, but up close, details of the paint reveal themselves. Grosse is architect, sculptor and painter all at once. In her words, she aims to ‘reset' what painting is and can be. But while she employs the artforms in the most imaginative and inventive ways, she also gets us to think about their histories and traditions – for example, how we could compare her work to an all-encompassing painted renaissance chapel in Florence, something that became apparent to her on a year abroad to Italy in her youth. Fascinated by colour and light since childhood, Grosse was raised at a pivotal moment in German history. Born in 1961 in Freiberg, West Germany, but often visited family in East Germany, she grew p in a post-Second World War society – when artists were grappling with the identity of German art. As a teen she studied in Cambridge in the UK, before completing her studies at the University of Fine Arts Müster and Fine Arts Dusseldorf. She then went to live in Marseille and Florence, where she was an artist in residence at the Villa Romana… Today, she lives and works in Berlin, and has gone onto have some of the most important, mind-expanding exhibitions of the 21st century – from a installation at the Venice Biennale in 2015, to transforming the Historic Hall of Hamburger Bahnhof; her Colossal takeover at Sydney's Carriageworks and, for MoMA PS1, spray painting reds and whites on a former military site in the Rockaways. Today we meet her at her current exhibition at Gagosian in New York – titled Pie Sell, Lee Slip, Eel Lips – where she is exhibiting an extraordinary collection of works that she calls Studio Paintings – and I can't wait to find out more. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Jack Symonds joins Regina Botros to talk about the production Gilgamesh at the Carriageworks.   Jack Symonds is a composer, conductor and pianist, and Artistic Director of Sydney Chamber Opera. He studied composition at the Royal College of Music, London under Kenneth Hesketh and at the Sydney Conservatorium of Music where he received the University Medal. His stage works represent “a striking and impressive new operatic voice” (Sydney Morning Herald) and he is “one of those performers who seemingly can play anything” (Australian Book Review).

Roxane Gay is a prominent American author, professor, and cultural critic known for her unflinching honesty, quick wit, and razor-sharp intellect. She has gained acclaim for her essays, fiction, and memoirs that explore identity, gender, race, and body image. This week, Roxane joins Michael for a conversation about what it means to be a public intellectual and how this has shifted throughout her career. Reading list: Ayiti, Roxane Gay, 2011 An Untamed State, Roxane Gay, 2014 Bad Feminist, Roxane Gay, 2014 Difficult Women, Roxane Gay, 2017 Hunger: A Memoir of (My) Body, Roxane Gay, 2017 The Banks, Roxane Gay, 2019 Opinions: A Decade of Arguments, Criticism, and Minding Other People's Business, Roxane Gay, 2023 Jazz, Toni Morrison, 1992 The Source of Self-Regard: Essays, Speeches, Meditations, Toni Morrison, 2019 You can find these books and all the others we mentioned at your favourite independent book store.  Roxane Gay appears at Carriageworks in Sydney, as part of the Festival of Dangerous Ideas (24-25 August) and at Melbourne Town Hall (27 August), presented by the Wheeler Centre and Now or Never. For more information head to their websites. Socials: Stay in touch with Read This on Instagram and Twitter Guest: Roxane Gay

Roxane Gay is a prominent American author, professor, and cultural critic known for her unflinching honesty, quick wit, and razor-sharp intellect. She has gained acclaim for her essays, fiction, and memoirs that explore identity, gender, race, and body image. This week, Roxane joins Michael for a conversation about what it means to be a public intellectual and how this has shifted throughout her career.Reading list:Ayiti, Roxane Gay, 2011An Untamed State, Roxane Gay, 2014Bad Feminist, Roxane Gay, 2014Difficult Women, Roxane Gay, 2017Hunger: A Memoir of (My) Body, Roxane Gay, 2017The Banks, Roxane Gay, 2019Opinions: A Decade of Arguments, Criticism, and Minding Other People's Business, Roxane Gay, 2023Jazz, Toni Morrison, 1992The Source of Self-Regard: Essays, Speeches, Meditations, Toni Morrison, 2019You can find these books and all the others we mentioned at your favourite independent book store. Roxane Gay appears at Carriageworks in Sydney, as part of the Festival of Dangerous Ideas (24-25 August) and at Melbourne Town Hall (27 August), presented by the Wheeler Centre and Now or Never. For more information head to their websites.Socials: Stay in touch with Read This on Instagram and TwitterGuest: Roxane GaySee omnystudio.com/listener for privacy information.

At the eleventh hour, journalist Masha Gessen has been granted a visa to enter Australia, but why are they considered so dangerous? Guest: Masha Gessen - Russian-American journalist and author. Masha is due to appear at The Edge, Fed Square in Melbourne for the Wheeler Centre (21 August) and at Carriageworks in Sydney, as part of the Festival of Dangerous Ideas (24-25 August).KEEP AN EYE OUT:Our main episode will drop Friday, with special guest Rory Stewart, co-host of The Rest Is Politics podcast.

This special live recording of The First Time Podcast took place on May 23, 2024 at Carriageworks on Gadigal Land for the Sydney Writers Festival. Podcast co-host, Kate Mildenhall spoke to guests Melanie Saward, James Colley and Charlotte Wood about their books, their paths to publication and the writing life. Melanie Saward is a proud Bigambul and Wakka Wakka woman. She is a writer, editor and university lecturer based in Tulmur (Ipswich), Queensland. Her debut novel Burn was published by Affirm Press in September 2023. She's widely published in literary journals and anthologies and is currently awaiting sign off on her PhD. In July, her first romantic comedy novel, Love Unleashed, will be published by Penguin Random House. James Colley is the author of the debut romantic comedy novel The Next Big Thing from Pantera Press. He's the head writer of ABC TV's Gruen and Question Everything. Charlotte Wood is the author of seven novels and three books of non-fiction. Her books have won or been shortlisted for various prizes including the Stella Prize and the Prime Minister's Award for Fiction. Her latest novel is Stone Yard Devotional which has been shortlisted for Age Book of the Year, ABIA Literary fiction of the year, the Christina Stead Prize for Fiction and longlisted for the Miles Franklin Award. Check out show notes for this episode on our website www.thefirsttimepodcast.com

Dalisa joins Regina to talk about Cut the Sky, Marrugeku's latest show. She is an award winning practitioner, co-artistic director of Marrugeku and one of the people behind the concept, as well as a co-divisor, performer and choreographer on this work. Marrugeku is a leading Indigenous intercultural dance theatre company. And this work CUT THE SKY is set in the north of Western Australia, the story follows climate refugees, traditional owners, miners, and more as they navigate a near-future world. A stunning production on at the Carriageworks.   Don't miss it!  

Are you BOLD, BRAVE and CURIOUS? FODI is back, baby. We've gathered the world's best for a weekend of provocation and inspiration. 87 speakers and artists including 16 international guests across 88 sessions at Carriageworks, Sydney for one massive weekend of danger. Presented by The Ethics Centre, FODI is a place to come and be curious together. A sanctuary where all are welcome. Safe from hype. Safe to listen. And safe to ask hard questions.  Satisfy your taste for danger, tickets won't last long. 2024 PROGRAM LIVE AND ON SALE NOW at festivalofdangerousideas.com

"Counting and Cracking," an acclaimed theatre production, is returning to Sydney. The production has won 14 major awards, including Helpmann Awards for best production and best direction, and has recently been showcased at the Birmingham Commonwealth Games and Edinburgh Festivals. Anthony Thasan Jesuthasan, a renowned writer and actor, is part of the cast. He discusses more about the show in an interview with Renuka Thuraisingham. The show will be performed at Carriageworks for a limited season from June 28 to July 21, 2024. - S. ஷக்திதரன் எழுதிய counting and cracking என்ற அரங்க காவியம் சிட்னியில் மீண்டும் மேடையேறுகிறது. எழுத்தாளர் மற்றும் நடிகர் ஷோபாசக்தி இதில் முக்கிய பாத்திரமேற்று நடித்திருக்கிறார். இந்நாடகம் தொடர்பிலும் இன்னும் சில விடயங்கள் தொடர்பிலும் அவரோடு உரையாடுகிறார் றேனுகா துரைசிங்கம்.

S. Shakthidharan's award-winning epic, Counting and Cracking, won seven Helpmann Awards and drew a huge audience to a story that many of them knew little about. Five years after its world premiere, Counting and Cracking is on in Melbourne as part of the RISING festival, after which it transfers to Sydney's Carriageworks and then New York.In 1972, a lecturer at the University of Adelaide was attacked at a gay beat and drowned. 50 years on, an oratorio shone a light into this appalling story and how his death changed Australia. Watershed: The Death of Dr Duncan is now being restaged by Opera Australia.

Sam succumbs to a character moment as a Southern gentleman, before they cover some really family-friendly tunes from Cannibal Corpse. They take a very non-legalistic look at the Live Nation Anti-Trust lawsuit, and how it might impact the Aussie industry. Then Max dials in with Nick Allbrook from WA legend POND off the back of their latest single "So Lo". They talk about how the band are channeling a big night at the club, whether genre is back in a big way, and how the band plan out their albums.Then in Vinyl Club, they look back at some heat Sam copped online for not liking Deftones, they get a new song from a  deep-cut friend of the show, and Max gives his impressions of Knocked Loose's latest album.Connect with POND on Instagram and Facebook, and listen to their latest single "So Lo" on Spotify and Apple Music. Find tickets to your local show at Pond's website.Sydney: Friday, 14/06/ 2024 – VIVID Sydney at Carriageworks  w/ DeliveryHobart: Saturday, 15/06/2024 – Altar, w/ 208L ContainersAdelaide: Thursday, 27/06/2024 – Lion Arts Factory w/ ColdwaveMelbourne: Friday, 28/06/2024 – Northcote Theatre w/ ParsnipBrisbane: Saturday, 29/06/024 – Princess Theatre w/ Full Flower Moon BandFremantle: Saturday, 06/07/2024 – Freo Social w/ Gia ComoDiscover more new music and hear your favourite artists with 78 Amped on Instagram and TikTok.

Okay, if you're part of a diasporic community in Australia, there's a strong chance you're all over Plantain as an ingredient! But this incredible, versatile and super delicious ingredient was previously it's not grown locally, was hard-to-find, and expensive. THAT'S ALL CHANGING. (Coming soon to a fancy restaurant near you!) Plantain is Yumi's prediction for hitting the mainstream here in restaurants, cafes, cooking shows and at home - - so get onto it first!TO MAKE SIMPLE PLANTAIN CHIPS YOU'LL NEED:3 yellowish to black plantains1 flat teaspoon cayenne peppergenerous pinch of salt4mm sunflower oil for fryingALSO - We are very excited to be coming to Sydney Writers Festival! Saturday 25th May, 11am at Carriageworks, Simon and I will be joined by Alex from Cornersmith, Lucy 'Every Night of the Week' Tweed and all our usual LoLs and obsessive food chat so please come along!https://www.swf.org.au/program/season-2024/the-dinner-dilemma Hosted on Acast. See acast.com/privacy for more information.

Festival of Dangerous Ideas (FODI) returns to Carriageworks on 24-25 August 2024.  Presented by The Ethics Centre, FODI is Australia's original disruptive festival, known for being at the zeitgeist of ideas. FODI will bring thought-leaders and artists from across the globe to fuel critical thinking, challenge preconception, provide information and spark conversations.  Offering a haven for exploration and a harbour for the curious, FODI 2024's theme, Sanctuary allows audiences to engage with the ideas behind the headlines of the 24 hour news cycle. In a litany of entrenched ideas, shallow information and self-censorship, we desperately need a space where we can engage with challenging ideas in good faith. FODI 2024 is an opportunity to hear powerful and provocative speakers from around the world talk on important and rousing topics. And also a space, a sanctuary, where audiences can engage with these ideas in a way that we, unfortunately, can't in the wild. In FODI's Sanctuary you are safe from hype and safe to listen and to ask questions. Program announcement and tickets on sale in June. Sign up for the latest updates: https://festivalofdangerousideas.com/

Festival of Dangerous Ideas (FODI) returns to Carriageworks on 24-25 August 2024.  Offering a haven for exploration and a harbour for the curious, FODI 2024's theme, Sanctuary allows audiences to engage with the ideas behind the headlines of the 24 hour news cycle. In a litany of entrenched ideas, shallow information and self-censorship, we desperately need a space where we can engage with challenging ideas in good faith. FODI 2024 is an opportunity to hear powerful and provocative speakers from around the world talk on important and rousing topics. And also a space, a sanctuary, where audiences can engage with these ideas in a way that we, unfortunately, can't in the wild. In FODI's Sanctuary you are safe from hype and safe to listen and to ask questions. Program announcement and tickets on sale in June. Sign up for the latest updates: https://festivalofdangerousideas.com/

Don't forget you can come see us with Alex Cornersmith and Lucy 'Every Night of the Week' Tweed at the Sydney Writers Festival on Saturday 25 May, at the extremely farmer's-market-friendly time of 11am! Carriageworks!On today's episode we're celebrating the rando gadgets you find in hotel kitchens, in this case, the legendary JAFFLE PRESS.To make The Perfect Baked Bean Jaffle?plug in the jaffle and get it going2 slices of sandwich bread (wholemeal or white)butter the outsidesswipe the insides with a little mustard if you're into that kinda spicefill the sandwich with a few spoonfuls of drained Wattie's Baked Beanstopped with cracked peppergenerous Havarti cheeseToast until the cheese is oozingEAT IMMEDIATELY WHILE ALSO AVOIDING SCALDING THE INSIDE OF YOUR MOUTH Hosted on Acast. See acast.com/privacy for more information.

Join Matty O on Triple M Homegrown for an exclusive and enlightening episode featuring the incredible Nicholas Allbrook, the charismatic frontman of the Perth-based psychedelic rock band Pond. In this must-listen episode, Nicholas opens up about Pond's journey, sharing insights from their exhilarating experiences on the road, including memorable moments sharing the stage with rock legends Queens Of The Stone Age. With the much-anticipated announcement of their new album "Stung," set for release on the 21st of June, this episode takes listeners on a deep dive into the creative process, inspirations, and aspirations that fuel Pond's unique sound. The conversation doesn't stop there; Nicholas also gives us the inside scoop on Pond's upcoming Australian tour, marking a series of performances that promise to electrify fans across the country. From the iconic VIVID Sydney at Carriageworks to the historic Princess Theatre in Brisbane, this tour is set to showcase Pond's dynamic presence and mesmerizing performances. Whether you're a long-time fan or new to the magic of Pond, this episode of Triple M Homegrown with Matty O is your exclusive backstage pass to one of the most anticipated musical events of the year. POND AUS TOUR JUNE/JULY 2024Friday, 14 June 2024 - VIVID Sydney at Carriageworks - Sydney, NSWSaturday, 15 June 2024 - Altar - Hobart, TASThursday, 27 June 2024 - Lion Arts Factory - Adelaide, SAFriday, 28 June 2024 - Northcote Theatre - Melbourne, VICSaturday, 29 June 2024 - Princess Theatre - Brisbane, QLD  Saturday, 6 July 2024 - Freo Social - Fremantle, WASee omnystudio.com/listener for privacy information.

Join Matty O on Triple M Homegrown for an exclusive and enlightening episode featuring the incredible Nicholas Allbrook, the charismatic frontman of the Perth-based psychedelic rock band Pond. In this must-listen episode, Nicholas opens up about Pond's journey, sharing insights from their exhilarating experiences on the road, including memorable moments sharing the stage with rock legends Queens Of The Stone Age. With the much-anticipated announcement of their new album "Stung," set for release on the 21st of June, this episode takes listeners on a deep dive into the creative process, inspirations, and aspirations that fuel Pond's unique sound. The conversation doesn't stop there; Nicholas also gives us the inside scoop on Pond's upcoming Australian tour, marking a series of performances that promise to electrify fans across the country. From the iconic VIVID Sydney at Carriageworks to the historic Princess Theatre in Brisbane, this tour is set to showcase Pond's dynamic presence and mesmerizing performances. Whether you're a long-time fan or new to the magic of Pond, this episode of Triple M Homegrown with Matty O is your exclusive backstage pass to one of the most anticipated musical events of the year. POND AUS TOUR JUNE/JULY 2024Friday, 14 June 2024 - VIVID Sydney at Carriageworks - Sydney, NSWSaturday, 15 June 2024 - Altar - Hobart, TASThursday, 27 June 2024 - Lion Arts Factory - Adelaide, SAFriday, 28 June 2024 - Northcote Theatre - Melbourne, VICSaturday, 29 June 2024 - Princess Theatre - Brisbane, QLD  Saturday, 6 July 2024 - Freo Social - Fremantle, WASee omnystudio.com/listener for privacy information.

Lee Miller cut a glamorous figure among the Bohemian art circles of Paris. As a fashion model she captured the eye and heart of Man Ray; as a gifted photographer she rivalled his artistic vision, photographing their world with Surrealist wit and a feminist conviction. Lee's career lasted 16 years up until her time as a photojournalist in Nazi occupied Europe, when the horrors of the Holocaust led her to quit photography. Antony Penrose is Lee Miller's only child and in charge of her archive which, incredibly, he only discovered after her death. Surrealist Lee Miller is on at the Heide Museum of Modern Art in Victoria.Daniel takes a tour of an exhibition designed to evoke the sounds and feel of a Fijian family home -- only fragmented, the same way that memory works. Artist Salote Tawale has partially recreated a real-life fishing raft and house in an installation that mixes paintings, sculpture, and video karaoke at Carriageworks in Sydney.

Il direttore di Blackartprojects Andrea Candiani ci offre un resoconto della fiera Sydney Contemporary, che si è tenuta dal 7 al 10 settembre a Carriageworks.

The Australian art scene has dramatically evolved over the past decade. A place that was once seen as belonging to wealthy collectors has opened up to absolutely anyone who is interested and inspired. ‘Front page news', once dedicated to sport, has recognised the important place of art in our everyday lives.  Kym Elphinstone is the Founder and CEO of Articulate, Australia's leading communications consultancy for culture and the arts. She's represented many of Australia's biggest cultural institutions including the National Gallery of Australia, Carriageworks and the Powerhouse Museum through to more than 12 temporary public art projects for John Kaldor as well as grass-roots festivals and art fairs platforming emerging artists. She's had a major impact on the profile of the arts in this country.  She cites her background in law as a formative experience but one that didn't offer the creativity she yearned for. In London in the early 2000s, she realised she needed to pursue her first love: the arts. After moving to Sydney, she soon took up a role at the MCA, and a few years later found herself starting her own business with the Biennale of Sydney as her first client.  Listen in as Vince and Kym discuss the difference between art and design, why it's important to only work with people and on projects you believe in, and public art as placemaking.  https://articulatepr.com.au/ See omnystudio.com/listener for privacy information.

In this episode, Helen speaks with EJ Son and Min Wong, two of the six finalists of 2023 Visual Arts (Emerging) Fellowship,  check out their amazing art installations at Carriageworks in Sydney from the 27th July to 27th August.  EJ Son Website   EJ Son Instagram  Min Wong Website  Min Wong Instagram   Asian Bitches Down Under has been featured as one of the Top 20 Intersectional Feminist Podcast by FeedSpot, checkout other amazing podcast programs HERE Facebook | Asian Bitches Down Under Instagram | Asian Bitches Down Under  Buy Me A Coffee | Asian Bitches Down Under    

The idea for Karina May's novel came to her while she was in the ICU, recovering from brain surgery. In this open-hearted interview, Karina shares the experience of living with a brain tumour for two decades before undergoing multiple surgeries to have it removed, and the resulting anxiety and creative inspiration she experienced.  Despite now being the author of the popular romcom 'Duck à l'Orange for Breakfast,' Karina admits there was a time in her life when she didn't believe she was creative. We discuss the connection between her writing and health experiences, and what she's learned from both.    Karina May is a Sydney-based former magazine journalist turned digital marketer, avid reader and writer of lively love stories that span the globe. 'Duck à l'Orange for Breakfast' is her debut novel in print.  Get your copy of Duck à l'Orange for Breakfast from Booktopia or your local bookshop.  Note: Nothing in this podcast is intended as medical advice. If you have concerns about your mental health, speak to your GP. Books and authors discussed in this episode: Crushing by Genevieve Novak No Hard Feelings by Genevieve Novak The Shot by Naima Brown  The Seven Moons of Maali Almeida by Shehan Karunatilaka The Road by Cormac McCarthy The Passenger by Cormac McCarthy  Stella Maris by Cormac McCarthy The Alchemist by Paulo Coelho Upcoming events with Ashley: Enter the Dark Web – in conversation at Sydney Mechanics' School of Arts, Tuesday 30 May, 12.30-1.30 pm, free Words on the Waves Festival Shaping Australia panel – Sunday 4 June, 11.30 am-12.30 pm, day or weekend pass  The Joy of Creative Writing – Ashley's online writing workshop, Tuesday 6 June, 7.45-9pm, $14 Upcoming events with James: Sydney Writers Festival presents James McKenzie Watson – Wednesday 24 May, 6.30-7.30 pm, Penrith City Library ($5 – book here) Sydney Writers Festival Life in the Landscape – Thursday 25 May, 11 am to 12 pm, Carriageworks ($15-$25 – book here)  Yarrum Storyfest – 1-2 July, Yarrum Regional Theatre, Yarrum, VIC ($25-$40 book here)  Ashley's psychological thriller 'Dark Mode' is out now! Learn more about it and get your copy. James' novel 'Denizen' is out now! Learn more about it and get your copy.  Get in touch! ashleykalagianblunt.com jamesmckenziewatson.com Twitter: @AKalagianBlunt + @JamesMcWatson Instagram: @akalagianblunt + @jamesmcwatson

Really Interesting Women - The Podcast Episode 101    Denni FranciscoDenni Francisco is an award winning designer who uses stunning indigenous artists works to create prints for her clothes. And she's about to make Australian Fashion Week history as the first indigenous person to have a solo show. She's a two time winner of the designer of the year at the National Indigenous Fashion Awards and is generally considered a key figure in the Australian fashion industry.And it all started when, as a very young woman, she came with her mother into the city for the first time from Wiradjuri Country in Central New South Wales...and saw a boutique with a pair of vibrant red flares in the window display.  It was one of several seminal moments that helped create a career. During that journey she has created two unique clothing models that have made a big impact on the industry and, frankly, society. She recently made a big splash at Milan Fashion Week with a runway show on the deck of a huge luxury cruiser moored off the Italian coast but Denni's always mindful of thinking of others and assisting other first nations people in her industry. And this success culminates in the aforementioned solo show at Australian Fashion Week in mid May 2023. It's a fascinating story where culture and community are at the forefront of her decisions. And her designs have beautiful indigenous prints which has, in turn, created an international interest on those artists.Website: www.ngali.com.auAust Fashion Week 15-19 May, Carriageworks, SydneyVisit instagram @reallyinterestingwomen for further interviews and posts of interesting women in history. Follow the link to leave a review....and tell your friendshttps://podcasts.apple.com/au/podcast/really-interesting-women/id1526764849If you know of a potential guest or interesting woman in history, email me atreallyinterestingwomen@gmail.com

‘There's a reason that this has happened. Science could predict this outcome for me, even though I feel like I'm in constant chaos.' Anna Spargo-Ryan is the author of the memoir A Kind of Magic. In this illuminating interview, she describes the gap between what science understands and what she's experienced over a lifetime of mental illness. Anna speaks about the profound impact one ‘silly' suggestion from her therapist had, as well as the deficiency of language about mental illness and resulting misunderstandings. She also reads to us about the years when she faced an inability to exist on the weekends.    Anna Spargo-Ryan is the author of two novels, The Gulf and The Paper House, and an acclaimed nonfiction writer and teacher. She was the inaugural winner of the Horne Prize and is the current nonfiction editor at Island Magazine. Books and authors discussed in this episode: ‘A psychologist handed my partner an article to help with my anxiety. I'd written it' by Anna Spargo-Ryan, Sydney Morning Herald Paul de Man, literary theorist;  Fleishman Is in Trouble by Taffy Brodesser-Akner;  Tuesdays with Morrie by Mitch Albom;  The Wych Elm by Tana French;  In the Woods by Tana French;  The Others by Mark Brandi; Stolen Focus by Johann Hari;  Notes on an Execution by Danya Kukafka Note: Nothing in this podcast is intended as medical advice. If you have concerns about your mental health, speak to your GP. Upcoming events with Ashley: Taking the Next Step: Australian Society of Authors online workshop – Wednesday 3 May, 1-2 pm, ($30-60)   Brisbane Writers Festival Thrills and Chills – Saturday 13 May, 4-5 pm, Stale Library Queensland ($25) Author Talk, Sutherlandshire Libraries – Monday 15 May, 6.30-7.30 pm, free, RSVP required The Listening Station – Tuesday 16 May, 6.45-8 pm, Art Bau Gallery, Brookvale ($30) Enter the Dark Web – in conversation at Sydney Mechanics' School of Arts, Tuesday 30 May, 12.30-1.30 pm, free Words on the Waves Festival Shaping Australia panel – Sunday 4 June, 11.30 am - 12.30 pm, day or weekend pass  Upcoming events with James: Sydney Writers Festival presents James McKenzie Watson – Wednesday 24 May, 6.30-7.30 pm, Penrith City Library ($5 – book here) Sydney Writers Festival Life in the Landscape – Thursday 25 May, 11 am to 12 pm, Carriageworks ($15-$25 – book here)  Yarrum Storyfest – 1-2 July, Yarrum Regional Theatre, Yarrum, VIC ($25-$40 book here)  Ashley's psychological thriller 'Dark Mode' is out now! Learn more about it and get your copy. James' novel 'Denizen' is out now! Learn more about it and get your copy.  Get in touch! ashleykalagianblunt.com jamesmckenziewatson.com Twitter: @AKalagianBlunt + @JamesMcWatson Instagram: @akalagianblunt + @jamesmcwatson

Author Lee Kofman returns to discuss her hugely popular writing memoir and guide, The Writer Laid Bare – James's favourite book of 2022! Lee dives into the concept of emotional honesty and 'nonesty' in writing and life, and why it's essential to her practice.  We also discuss the importance of reading as writers and her recommendation to 'read up'. Lee explores how writers can ensure they're not writing with political blinkers, how to craft complex and realistic characters, and what part of The Writer Laid Bare has resonated most with readers.  This episode offers inspiration and advice for anyone wanting to lead a more richly creative life.  Dr Lee Kofman is a Russian-born Israeli-Australian author of six books and editor of two anthologies, writing teacher and mentor based in Melbourne. Her books in English include the writing guide The Writer Laid Bare, and two memoirs: Imperfect, and The Dangerous Bride. She has also edited two anthologies of personal essays, Rebellious Daughters and Split. Get your copy of The Writer Laid Bare from Booktopia or your local bookshop.  Books and authors discussed in this episode: Karl Ove Knausgård;  Jane Austin;  A Portrait of the Artist as a Young Man by James Joyce;  A Swim in the Pond in the Rain by George Saunders;  Reading Like a Writer by Francine Prose;  Thomas Manne;  The Fire and the Rose by Robyn Cadwallader;  Turning Points in Medieval History by Dorsey Armstrong;  Crying in H Mary by Michelle Zauner;  Convenience Store Woman by Sayaka Murata;  Sorrow and Bliss by Meg Mason;  Taken by Dinuka McKenzie Upcoming events with Ashley: The Joy of Creative Writing: Laneway Learning online workshop – Tuesday, 2 May, 7.45-9pm ($9-14) Taking the Next Step: Australian Society of Authors online workshop – Wednesday 3 May, 1-2pm, ($30-60)   Brisbane Writers Festival Thrills and Chills – Saturday 13 May, 4pm, Stale Library Queensland ($25) The Listening Station – Tuesday 16 May, 6.45-8pm, Art Bau Gallery, Brookvale ($30) Enter the Dark Web – in conversation at Sydney Mechanics' School of Arts, Tuesday 30 May, 12.30-1.30 pm, free Upcoming events with James: Yarrum Storyfest – 1-2 July, Yarrum Regional Theatre, Yarrum, VIC ($25-$40 book here)  Sydney Writers Festival presents James McKenzie Watson – Wednesday 24 May, 6.30-7.30 pm, Penrith City Library ($5 – book here) Sydney Writers Festival Life in the Landscape – Thursday 25 May, 11 am to 12 pm, Carriageworks ($15-$25 – book here)  Ashley's psychological thriller 'Dark Mode' is out now! Learn more about it and get your copy here. James' novel 'Denizen' is out now! Learn more about it and get your copy here.  Get in touch! ashleykalagianblunt.com jamesmckenziewatson.com Twitter: @AKalagianBlunt + @JamesMcWatson Instagram: @akalagianblunt + @jamesmcwatson

Does anxiety go hand-in-hand with creative ambition Psychologist Sanchana Venkatesh joins Ashley and James to discuss the positives of creativity for mental wellbeing and the common problem of creative anxiety.  An emerging writer herself, she's familiar with the types of anxiety common to creatives. She delves into why we often can't just sit down and have fun with our creativity, provides advice on managing our creativity, and offers reading recommendations for further support.  This episode is full of practical tips for managing creative anxiety (and anxiety in general), for creatives of all types, including those writing about or exploring trauma in their work.  Sanchana Venkatesh is a psychologist and writer of short stories and essays. She has been practising as a psychologist in schools, public mental health, and non-profit settings since 2008, and is currently the sole practitioner and founder of flourish inside out psychology services. Her areas of special interest include anxiety, depression, chronic illnesses, life transitions, tics and Tourette's. Sanchana enjoys working with creatives, single people, gifted individuals, and migrants and people of colour. She was shortlisted for the 2021 Peter Carey Short Story Award, and her writing appears in the 2017 Newcastle Short Story Award Anthology and the 2020 Better Read than Dead Writing Anthology. You can find Sanchana's services at Flourish Inside Out, and find the dropping anchor exercise here. Books and authors discussed in this episode: Big Magic by Elizabeth Gilbert Mastering Creative Anxiety by Eric Maisel Happy Never After by Jill Stark A Kind of Magic by Anna Spargo-Ryan The Happiness Trap by Russ Harris Emotional Agility by Susan Davis Lost Connections by Johann Hari Homesickness by Janine Mikosza The Lord of the Rings by JRR Tolkien **Nothing in this podcast is intended as medical advice. If you have concerns about your mental health, speak to your GP.**  Ashley's events:  Secret Book Club online with Secret Book Stuff – Tuesday 28 March, 7.30-8.30pm ($11 or free for members) Global Girls Online – Wednesday 29 March, 8pm, join on Facebook Live Readers – Books & Conversations – Thursday 30 March, 8pm, Petersham Bowling Club ($10)  Newcastle Writers Festival – Short & Sweet panel, Sunday 2 April, 1.30 pm (free!)  The Listening Station – Tuesday 16 May, 6.45-8pm, Art Bau Gallery, Brookvale ($30) James' events: Newcastle Writers Festival – I'd Like You to Meet: Lee Kofman chats to James McKenzie Watson, Saturday 1 April, 2-3pm (free!) New Blood: Crime Writers to Watch – Sunday 2 April 1:30pm at Newcastle Writers Festival ($20 – book here) Yarrum Storyfest – 1-2 July, Yarrum Regional Theatre, Yarrum, VIC ($25-$40 book here)  Sydney Writers Festival presents James McKenzie Watson – Wednesday 24 May, 6.30-7.30 pm, Penrith City Library ($5 – book here) Sydney Writers Festival Life in the Landscape – Thursday 25 May, 11 am to 12 pm, Carriageworks ($15-$25 – book here)  Ashley's psychological thriller 'Dark Mode' is out now! Learn more about it and get your copy here. James' novel 'Denizen' is out now! Learn more about it and get your copy here.  Get in touch! ashleykalagianblunt.com jamesmckenziewatson.com Twitter: @AKalagianBlunt + @JamesMcWatson Instagram: @akalagianblunt + @jamesmcwatson

Brett Low and Laura Moore speak to Peter Keep, jewellery manufacture and design educator who has an online jewellery school called Jewellery Training Solutions. After training in the UK, Peter brought his skills to Australia and after years educating students face to face, has developed a comprehensive platform with thousands of videos showing students how to create different jewellery pieces. Listen here and then head to Peter's website to watch some of his free videos. https://www.jewellerytrainingsolutions.com.au/ And are you registered for the Jewellery Industry Fair in Sydney? August 26th - 28th at the Carriageworks. Register your ticket here and come along to our industry leading event. https://sydney.jewelleryindustryfair.com/

Join us for the first episode back of Crypto Curious for 2023! In what has been a thrilling start to the year in the crypto world we provide our usual update on the market for January. And as the dust settles, we'll delve into whether this bull run is here to stay or if it's a short lived pump.We also cover the latest in FTX/SBF news and dive into the biggest headlines to hit the crypto scene in the past few weeks. From the launch of the ANZ Stablecoin to Tennis Australia's NFT collection, we've got all the homegrown news you need to get you back up to speed.We also share some exciting news out of Bamboo this month with Aussie cricket legend Steve Smith becoming a brand ambassador.And finally we wrap up with our quick-fire round-up of all the latest news bites, so you'll finish feeling fully informed and up to date for January and beyond.Download the Bamboo app and use code CURIOUS for $10 in ETH.Fill out the EM Community Survey to help Equity Mates understand our audience! There are 2 prize pools for community members who will be automatically entered if they submit answers to all questions and provide their email addresses: First prize pool: 1x $500 cashSecond prize pool: 3x tickets to FinFest 2023Closing date: 28th February 2023Also! FinFest 2023 is locked in - November 11th 2023 at the Carriageworks in Sydney! Register to find out more here. Follow Crypto Curious on Instagram, or send the team an email with all your thoughts here. *****In the spirit of reconciliation, Equity Mates Media and the hosts of Crypto Curious acknowledge the Traditional Custodians of country throughout Australia and their connections to land, sea and community. We pay our respects to their elders past and present and extend that respect to all Aboriginal and Torres Strait Islander people today. *****Crypto Curious is a product of Equity Mates Media. This podcast is intended for education and entertainment purposes. Any advice is general advice only, and has not taken into account your personal financial circumstances, needs or objectives. Before acting on general advice, you should consider if it is relevant to your needs and read the relevant Product Disclosure Statement. And if you are unsure, please speak to a financial professional. Equity Mates Media operates under Australian Financial Services Licence 540697.Crypto Curious is part of the Acast Creator Network. Hosted on Acast. See acast.com/privacy for more information.

On November 10 and 11, Sunrise, Australia's leading ideas and innovation festival run by our friends at Blackbird, returned to Sydney for their most ambitious event since its inception in 2014. Taking over Sydney's iconic Carriageworks, Sunrise opened its doors, inviting around 1,000 of its closest pals, all primed to explore the optimism and wonder of human achievement. Armed with a microphone, and less a wisdom tooth (which was removed around halfway through the festival - by a professional dentist), Innovation Bay's Co-Founder and familiar host of Open The Pod Bay Doors, Ian Gardiner, tapped 21 people on the shoulder for series of pow wows about business, innovation, a retrospective at what has got them to now, a fast forward of what's to come for our industry and what's exciting them, and of course…what they're hearing, seeing and feeling at Sunrise. Part 3 features an admirable group of people including Flavia Tata Nardini (Fleet Space Technologies), Andy Tsao (Silicon Valley Bank), Matthew Pearson (Fleet Space Technologies & Airspeeder), Lucy Wark (Normal), Tim Moore (Investor), Matt Allen (Tractor Ventures), Alex McCauley (Tech Council of Australia).   See omnystudio.com/listener for privacy information.

On November 10 and 11, Sunrise, Australia's leading ideas and innovation festival run by our friends at Blackbird, returned to Sydney for their most ambitious event since its inception in 2014. Taking over Sydney's iconic Carriageworks, Sunrise opened its doors, inviting around 1,000 of its closest pals, all primed to explore the optimism and wonder of human achievement. Armed with a microphone, and less a wisdom tooth (which was removed around halfway through the festival - by a professional dentist), Innovation Bay's Co-Founder and familiar host of Open The Pod Bay Doors, Ian Gardiner, tapped 21 people on the shoulder for series of pow wows about business, innovation, a retrospective at what has got them to now, a fast forward of what's to come for our industry and what's exciting them, and of course…what they're hearing, seeing and feeling at Sunrise. Part 2 features a bunch of incredible humans including Joel Connolly (Blackbird), Alex Apoifis (Blackbird), Jekaterina Viktorova (Syenta), Andrea Gardiner (Jelix), Damon Klotz (Culture Amp), Mick Liubinskas (Climate Salad), and Kate Glazebrook (Blackbird).   See omnystudio.com/listener for privacy information.

On November 10 and 11, Sunrise, Australia's leading ideas and innovation festival run by our friends at Blackbird, returned to Sydney for their most ambitious event since its inception in 2014. Taking over Sydney's iconic Carriageworks, Sunrise opened its doors, inviting around 1,000 of its closest pals, all primed to explore the optimism and wonder of human achievement.    Armed with a microphone, and less a wisdom tooth (which was removed around halfway through the festival - by a professional dentist), Innovation Bay's Co-Founder and familiar host of Open The Pod Bay Doors, Ian Gardiner, tapped 21 people on the shoulder for series of pow wows about business, innovation, a retrospective at what has got them to now, a fast forward of what's to come for our industry and what's exciting them, and of course…what they're hearing, seeing and feeling at Sunrise.    Part 1 features a bevy of incredible humans including:  - Matt Fairhurst (Skedulo)- Al Coleman (Folklore)- Kristen Durham (Zendesk)- Mary Minas (Sense of Self)- Mark Dombkins (Forever Projects)- Jason Neave (Punt Club)- Nan Ransohoff (Stripe)See omnystudio.com/listener for privacy information.

We love Troy Emery's work, his playful, soft sculptures are so extraordinary and tactile, when we saw them at the Art Pharmacy office we had to touch them!! Martin Browne Contemporary in Sydney represents him. We talked to Troy over zoom as he is based in Melbourne, about taxidermy, natural history museums, materials, degradation of nature, Hermes windows, and much more!! We also talked to Troy about his sculptural paintings.   Troy will be at 2022 Sydney Contemporary so get down to Carriageworks to see his work in the flesh. 

Dr Simon Longstaff is the Executive Director and Dr Tim Dean is Senior Philosopher at The Ethics Centre which is presenting the Festival of Dangerous Ideas at Carriageworks in Sydney this weekend. Seeing as they're both philosophers, they're obviously deep thinkers, but how is their knowledge of trivia?Well, it's quite good, actually. Lots of value-adding in this episode of the Quiz. They even manage to get the sports question.Listen to this episode and then head over to Carriageworks to hear them both philosophise with strangers:https://festivalofdangerousideas.com/program/circle-of-chairs/Support this show http://supporter.acast.com/the-saturday-quiz. Hosted on Acast. See acast.com/privacy for more information.

Sydney Contemporary, la principale fiera d'arte contemporanea dell'Australasia, torna dall'8 all'11 settembre 2022 al Carriageworks. Vi parteciperanno oltre 90 gallerie d'arte, esponendo i lavori di oltre 450 artisti.

Our oldest modern dance company, the Australian Dance Theatre, has been delighting and challenging audiences for nearly 60 years. Now Wiradjuri dancer and choreographer Daniel Riley is at the helm, becoming the first Indigenous man to lead the company. Also, we meet the winner of this year's Keir Choreographic Award, Tra Mi Dinh, and Wesley Enoch's joyous musical The Sunshine Club returns to the Queensland Theatre stage after 23 years.

We take a deep dive with Joan Shin and Brigitte Podrasky into their work ‘Traces', performed at arts and music festival Soft Centre. Glimpsing at ghostly gestural markings, fragmented rhythms and scrambled visuals, ‘Traces' is a live audiovisual performance showcasing the multidisciplinary offerings of DBR, Cypha, Brigitte Podrasky and Joan Shin. Situated as a collaborative project across three remote cities, ‘Traces' takes inspiration from memory and disorderly exchanges between each artist's temporal context. Brigitte and Joan talk about their process working across three cities and as four artists with different practices and reflect on the experience of live performance as visual artists. Plus, the value in finding good collaborative dynamic. Works mentioned and additional resources: https://www.facebook.com/softcentrefestival/videos/3162256410717153/ https://www.astrophemagazine.com/astrophe-magazine/soft-centre-traces-dbr-x-cypha-x-joan-shin-x-brigitte-podrasky-pres-traces-live-a/v https://www.vividsydney.com/event/music/soft-centre https://www.decolonialhacker.org/ See omnystudio.com/listener for privacy information.

This is episode #002 of the FuturePerfect Podcast where we talk with compelling people breaking new ground in art, media, and entertainment. This podcast is produced by FuturePerfect Studio, an extended reality studio creating immersive experiences for global audiences. Episodes are released every two weeks, visit our website futureperfect.studio for more details.The text version of this interview has been edited for length and clarity. Find the full audio version above or in your favorite podcast app.This week we interview Team Rolfes, a digital performance and image studio led by Sam and Andy Rolfes. The studio specializes in figurative animation, VR puppetry, and mixed reality collage. They create works across multiple formats, including livestream improvisational comedy, live motion capture animation on large festival stages and in underground rave bunkers, print design for fashion collections, album covers and music videos. They have collaborated with Lady Gaga, Danny Elfman, Danny L Harle, Nike, Netflix, Adult Swim and performed at music festivals across the world. On June 4th, 2022, they will premiere their live 3D musical 3-2-1 RULE at Carriageworks in Sydney, Australia. The work is being developed together with writer and net artist Jacob Bakkila and artist songwriter Lil Mariko.I first encountered your work as an online video in 2020 as a part of the Lunchmeat Festival of electronic music and art based in Prague. I think it was called Sam Rolfes 360° AV experience. I watched it on my Oculus headset and the work was so exhilarating, but also disconcerting and humorous at the same time. It was like a fever dream complete with moving walls, objects melting, spaces constantly changing sizes, and yet was extremely beautiful. For me, the work exemplified this intriguing in-betweenness that you embrace: part puppet show, theme park ride, sculpture, live performance, gaming, and installation. And this makes absolute sense because you've been making experiences across media and genres for a very long time.You were both originally trained in painting and fine art. How did you get from there to the work that you're doing now?Sam Rolfes: Yes, Andy and I both come from a painting background. Our mom was a painter. She ran a little 3D studio when we were kids. She had these big huge books on Blender and 3ds Max laying around.Andy Rolfes: It was a long path back to 3D. We played around with 2D a lot more. We read about musculature systems in the 3D books and wondered how in the world people can even set this stuff up.SR: There was also a lot about wireframes. When we were kids 3D was just kind of boring. It felt like math and I didn't want to do math I just wanted to make a cool race car. AR: Yeah a lot of math. I remember making a sword in Blender when I was 12. It's a pretty linear shape, but it was the most taxing process. So I went back to 2D. I could just play with a plane and an abstraction and it was more fun.These 3D tools, along with game engines and other design software, have become some of the most significant toolsets for conceptualizing and building your work. What happened in terms of your training where you suddenly realized you needed to leave painting and watercolor and shift into 3D?SR: I don't remember how I came across it, but I came across ZBrush, a 3D sculpting program where you can mash things around like digital clay. That was the big aha moment for me. A lot times it hides (honestly oftentimes to its detriment) the mathy elements and we found that it was actually in keeping with our painting background where it allows for semi-improvisation, but with an impressionistic sculptural object. Andy started playing more with Maya and Blender as well. And we both slowly got into it just because it was fun.AR: I went through the whole watercolor track and was doing semi-pro photography and developing an interest in photogrammetry. As I was seeing Sam play around with ZBrush, I got into it and jumped back into 3D. I actually went back to 3ds Max. I was putting photogrammetry scans in there and throwing grass around and rendering that out and realized it had gotten way better. And I started bringing in my 2D stuff and playing with ways to collage that in. I played around with that and Cinema 4D before I ended up going back to ZBrush.SR: This was in tandem with the 2012 to 2016 era of internet art and post internet art. There were a lot of people doing 3D art. They would kind of kludge something together in Maya and make it shiny and spin around. And that stuff still exists to some extent these days, but was increasingly present in Chicago where I was living at the time. I had just moved back from Austin after being there for a year after graduating art school. I was starting to do more show flyers and stuff like that and I was trying to find whatever scene existed in Chicago. You wouldn't know it because none of the people would actually hang out in person, but a lot of interesting things in the glitch scene and post internet scene were coming out of Chicago. I was trying to engage with this new community and was finding our perspective within that. I realized we could take a different approach because of our painting background. All these other people were coming more from a digital art or computer science background. They had an art game program at SAIC where I went to school, but I was so turned off by it because everybody was making these white box gallery experiences and they were all the same. That was one reason why it took me a while to get into Unreal Engine. I was still traumatized by having to virtually walk through all these terribly designed spaces. And then I started doing music videos. Our first one was for this group Amnesia Scanner. And I started using ZBrush as a live visual performance tool and did visuals for shows. I would make characters for every musician performing. There's no real rigging in ZBrush, but I managed to make the characters bounce around like marionettes. From there I got a bit of an understanding of realtime performance.And then Amnesia Scanner kind of blew up on the internet. We don't reach out to musicians like this, but I just like sent them an email. They're very mysterious and I didn't know where they were based. I sent them an email that was in four different languages that was like, please let's work together. And they responded to me. So I spent two months with an initial dev trying out both Unity and Unreal. And Unreal ended up being better.I got in contact through a friend of a friend with this guy Eric Anderson, who was running a three-story punk venue in Chicago called The Keep. We met and he had a prototype Oculus Rift. This was back in 2015 or something like that. And I went to this DIY spot and then stayed there for a week and we just banged out this crazy video. I just palmed the prototype Oculus headset to do the camera. There was no sequencer and there was nothing rendered in Unreal. This was all recorded. I exported it all and took it to my painting mentor's place and uploaded it to his 12 year old daughter's gaming computer. And it took like 24 hours for it to load on that computer and then we performed it there and just recorded it straight from the screen. It felt good enough that we kind of just kept running with it for everything after that.So in terms of music, your past works have a long dialogue with rave culture, hyperpop, and new forms of media that circulate on the internet. Tell us more about that dialogue and how it informs some of your current work.AR: I was kind of plugged into, or at least aware of, both vaporwave and glitch and everything in between that, like the acerbic visuals and everyone realizing 3D is a lot more approachable. The communities I've engaged with have definitely been varied and scattered. It's a lot of pulling things together and trying to figure out what works. Up until recently not many friends or people I've know have directly engaged with 3D. But I show them what I'm working on and try to connect different communities together and see how we can work together.SR: And more recently you've been more active in the visual artist communities than I have. I've been more interested in those rave cultures. I have a long career of DJing and producing. I've been in the turntable scene, the glitch hop scene, the witch house scene, and now it's hyperpop. It all ends up being the same. The through line is just experimentalism basically. It's just like a certain amount of interest in a new sound.Hyperpop is an interesting illustration of this to talk about because it's this weird thing where underground culture was made mainstream and at the same time, at least initially, was not diluted upon becoming mainstream. I guess this has happened all the time, but it's the most recent occurrence that I participated in. Hyperpop is this weird sound that somehow a ton of people know about and it became a meme and a joke because of course it was gonna be. But watching that dynamic was very interesting. We've had a long history with different music scenes. Both me performing as a DJ, but also us doing stage performances with musicians on big festival stages with mocap (motion capture) VR performances that are kind of accompaniments to their music. We've got an opera and a kind of a 3D musical in the works right now. But where it all started was album covers and then music videos. It was about participating in those communities and finding a way to, as visual artists, be a part if it more than just fans, but actually help shape the ideas and shape where everything is going. What are the ideas you're shaping? What's the content and the substance of what you're trying to shape right now?SR: Generally we try and get in and maybe expand the visual dynamic range. With a lot of experimental approaches, especially in the music scenes, it ends up being a lot about vibe or the nerdy tech or kind of esoteric stuff. For us, we can use all these esoteric tech tools, but use them hopefully for a compelling overarching narrative.And I'm sure we'll talk more about the performative aspects of our work with using digital tools. But in these electronic scenes it ends up losing a certain humanity. A lot of it for us has been trying to reconnect to this live, in-the-moment feeling. Our work is trying to hit the same subconscious feeling of being in the moment and having all these things happening rather than have some kind of contrived tech demo construction or something.AR: Especially nowadays where people are like—oh yeah I need to touch grass. We want to somehow bring that back to the digital and think how can we make this more physical? We're combining that with strong motivations and guiding lights in theater, performance, athletics, heavy physicality. And we're thinking what can we really do with having our bodies fling around, often literally, and have that cascade and become a deeper narrative that also has its own motivations of speaking to the community or wherever our eyes are fixated at the moment.Performance in front of a live audience is super central to you guys. Give us a sense of the infrastructure you need to build in order to create one of your dynamic realtime performances. How does it work compositionally, dramaturgically and technically? What does it take to put together and create a realtime dynamic performance in front of a live audience.SR: Right now, one of our projects is this stage adaptation for this short film, this bigger thing 3-2-1 RULE that's going to debut in Australia in a month. That one is going to be significantly more structured and quality controlled beforehand rather than being a crazy thing where it's incredibly improvisational. Often times each show is purpose built to a certain extent. Most of our projects inherit worlds and characters and assets from previous projects, but they they build on each other. We'll have a collection of scenes that are modular and existing in the same world. Each one is setup for a specific type of camera shot and a specific type of motion capture or VR mechanic.AR: Before we get into designing the motion, we also have to figure what the arc of the performance is. What's the energy, what modes want to fit where? Is this going to be a soft moment or is it going to be more excitable? We chart the long arc and mini arcs of the scene.SR: Oftentimes we're not able to meet with the musicians until we get to whatever country we're going to. Prior to meeting them we set up these modular scenes, each with their arc in terms of mechanics and scene dynamic. We have a whole collection of things and plug them together to an extent. Because the performances are so improvisational, it's kind of like acting the part of a good DJ who's watching the audience, watching the musicians, listening, and deciding what's right in the moment.We work this way when we're making music videos as well. Where we build the environment in VR and then kind of feel out where the choreography of a scene is supposed to go. This big Australian debut of 3-2-1 RULE is going to be pretty regimented. We're going to have everything planned, but there's still going to be a fair amount of improvisation since it's all realtime. I would never want to cut out the potential for those kind of magical moments to happen.It sounds like 3-2-1 RULE is a very important transitional project for you where you're in control of the narrative and you're not in service of some other musicians. Tell me where the title 3-2-1 RULE comes from and give me a sense of what you're producing.SR: The name comes from this backup strategy in tech where you're supposed to have three backups. I'm gonna get this wrong, but one is local, one is on the cloud, and one is offsite. The staged work is an adaptation of a short film and will eventually be either a feature film or a playable game. It's one of the major projects for us this year. It's kind of a parody of both the metaverse stuff and the contemporary moment. But also a way to talk about memory and people's relationships and history together on the internet and what happens when you use the cloud platforms as a prosthetic brain or a prosthetic memory where you're offloading moments together. The work follows these gig economy workers who respond to listings posted on an app that gathers memories for people in a metaverse space. If someone wants to remember the best day they ever had or the way their dad danced around when he made breakfast they would use this app and the gig economy workers dive in and play these genre parody games to unlock the memory for them. The conceit is that AI can obviously go in and scan your brain or scan the internet and grab this stuff, but it could never recreate the senses that really make up the core of what the memory is. So you have these gig economy workers who kind of chemically collage and assemble these things together for their clients.The stage adaptation served the dual function of giving us an excuse to start building out everything for this broader narrative project really fast. And to start developing this format that's closer to a musical. The debut in Australia will be with the musician Lil Mariko, but the idea is that we would put this on all over the world, and it could be any musician friend that would star in this role. It might be customized for each musician a bit. There are moments where there's narrative and there are moments were they could just perform their songs. This is kind of our pitch for a new performance format that could be replicated elsewhere and could really bring variety to the music performance world. Because I mean I love music shows. I love venues. I love playing them. I love going to them. I'm at them all the time. But I'm sick of music shows and the format has hardly changed. There exists this potential to unite all these different formats including visuals, sound, music, and narrative. And it takes a little more work. But I think we might be good people to try it out.You're working with writer and social network artist Jacob Bakkila. What is he bringing to the work?SR: We initially brought Jacob in on our now defunct Netflix project we were developing. He has a whole career of performing as bots on the internet or doing genre parody things and all these satirical things that are really brilliant. The project was going really well, but there was too much red tape and it got canceled. But we were talking afterward about working together and we had a kernel of the idea for 3-2-1 RULE. He said, okay I think I can do this and went away for a few days and came back with the base concept for 3-2-1 RULE. And it just threaded the needle between stuff that our team had already been working on for our game and other projects. I work directly with Jacob on the broader concepts and the story and where it goes, but he can churn out hilarious writing very quickly. It's a mishmash of different online references from every generation and he's so conversant in that kind of dialogue that he can make it feel genuinely realistic. He's able to sit in this incredibly online space that I feel is very essential to this story. He just generally knows how to fit everything together in a very nice way and was able to bring the emotion to the project.Do you have a sense of what you want the audience to experience? What do you want them to come away with? What kind of impact do you want to have on them?SR: Maybe it varies a bit between the live show, the eventual short, and then whatever the final big project is. I want it to be jarring, but funny. I want it to reflect upon our online relationships and what we've given up in terms of community, interpersonal dialogue, memory and moments together. How much are we sacrificing for platforms?Would it be safe to say that you obviously have a fraught relationship with these platforms? You've experimented in these spaces, you draw inspiration from these spaces, you post in these spaces, and simultaneously, you're frustrated and critical of these spaces. SR: We're participating in them because there really is no alternative. I have friends who are making their own distributed web3 based platforms like people doing Channel and people doing other projects, like more horizontal lefty things here and there. But they still have to promote it on platforms because that is just where all this stuff exists. So much of our stuff, especially if it has any narrative, does have a platform critical element to it because I can't think of anything else to comment on. It feels so absurd to be forced to fit this art that we do, that could take so many different forms, into a box that's 1080 by 1080 pixels and lasts a minute. There's always been constraints to art, but with platforms it's not a meritocracy, and the best stuff does not rise to the surface. The platforms themselves do not promote things that are in keeping with the value system of anybody within their right minds. It promotes things that will do well on the platform for its own good. I don't think that's a healthy thing for an artistic community, or for an artist, or for anything. I think most people recognize this to an extent. In a sense, critiquing it and putting it in my little skits is just coping. It's like acknowledging it, but I only have so much ability to actually do anything about it. It's also just generally frustrating with the moment we're in. The trick is speaking to that moment and then not getting too trapped in the Twitter style riffing on the discourse of the day. That stuff will do better, it is incentivized because you will get better metrics and the platforms want that kind of momentary ephemeral thing. But then if you go back a week later, it doesn't hit the same. So that's also a trap. Having things be somehow engaging with the contemporary moment, acknowledging where we are right now, and what our relation is to these platforms and to the economy and to how they have basically become the air we breath. Doing that and then also figuring out how you have it be something that lasts longer than 10 minutes is always a struggle artistically.In all of our discussion we haven't touched on the literal politics of the day. I mean, we haven't talked about Ukraine, we haven't talked about Russia. We haven't talked about the elections. We haven't talked about any of that. What's your relationship to these events and the work you're doing? Is it something you avoid, something you engage with, or something you don't wanna participate in?SR: All the political discourse, at least between the conservative and liberal sphere, I don't give a s**t about. My interest is in the working class relation to their power, and collective bargaining and what we can do about it. I have opinions about imperialism and being against it and what the US should be doing abroad. But a much more tangible thing to engage with is union and platform issues.AR: It feels more actionable. Stuff that doesn't feel like beating the same drum. We're not trying to be Beeple where we just do modern day political cartoons.SR: That's that momentary discourse thing I'm talking about where it's like oh, I'm going to make an Elon thing. Like who cares?AR: It feels far too ephemeral. And there's a time in place for that, the political art.SR: And I have done some stuff like that, I mean I've thrown Zuckerberg into some s**t, but I don't know.AR: But that's also trying to keep things contemporary and keeping with a sense of immediacy. I feel like we usually try to tie things down to more. Not really universal, well sort of universal because working class issues are fairly universal outside of maybe the top 1%. But try to speak to the broader issues, and try to speak more to the individual themselves rather than trying to talk to political issues that will come and go all the time. Even if they don't seem like they ever go away.SR: Talking about the news of the day and making art about the news of the day is both a symptom of a broader issue that is very much not the discourse in the mainstream media or however you wanna phrase it. Not to sound like too much like a post-left guy, but it's a liberal trap to make your art about an issue that is being discussed by the media that you have no control over. It's a liberal trap in that it is a culture war fabrication that art can change the world. Like if we make the most moral Disney movie, then everybody will be good. It ignores people's relation to their labor and all these other things. It's like, if we have no more bad villains who do problematic things on TV, then everybody's gonna be okay. And I think a lot of artists end up in that trap, feeling the push to have to make work about things like this. Both because it's incentivized by the platform, and because again it's the churn of the daily discourse you're supposed to plug into. And just morally they feel like oh, I have to be saying something. And I'm not saying that my stuff is not cope because there's a left version of this that is just cope too. But it's just like posting on Twitter. It's not doing anything. We've all been trained to be cultural commentators. All we are doing is quote tweeting people endlessly while the same structural system continues. And I just have no interest in participating in that. It's entertainment at the end of the day and it's entertainment for some people and my stuff is entertainment for lefty types and I'm not necessarily accomplishing anything more, but I at least think that the topics that I'm interested in maybe are more realistically accomplished.AR: I usually just look to the actual items. I just made an artwork for the Queer Museum of Digital Art, which is part of the whole web3 sphere. They're trying to fundraise.SR: Just to clarify, I was not talking about that kind of stuff. I'm not saying that fundraising's bad or anything like that.AR: I know. I know. For Ukraine or other huge issues, I'm just going to donate or help however I can. If sharing something might help connect one or two other people, I'm aware of my presence as a node within this whole network. If i'm one of a thousand other people sharing this, but there are three other people in my network who didn't see this it's cool if it's actionable. Not if it's just hot takes.SR: That community building is also way more important than making art about it. Communities can make art and have that steer people in a certain direction. Just to self roast a little bit, if I made the most perfectly leftist take down of whatever, that doesn't accomplish anything either. So making these alternative structures, not to get into dual power talk, but building community structures that exist outside of these platform capital dependent things, I think is the most important thing.What communities are you working with specifically?SR: I have yet to start helping them really in a way that I can give myself credit for, but Jaded is a new organization. It's some people from the Black Socialists in America, Zack Fox, and a bunch of comedians have started this artist co-op and community. They're building a venue, they're going to be funding scripts, they just debuted this podcast they're doing. Black Socialists in America also have all these other projects like The Dual Power App, which helps give people tools for building co-ops and horizontal things and community structures that don't rely on basic finance capital. They are a great example.And then Channel, I did some work for them. They're a web3 venture. I don't want to over explain their thing because I will probably do a bad job. They've done a lot of platform critical work, podcasts, and they're a bunch of lefty artists. But from time to time they would get shadowbanned. And they are still, regardless of how critical they are, dependent on these platforms to a certain extent. They're working to untether that. In the same way that people are tethered to their jobs because they can't get universal healthcare, they have to stay at the job for healthcare. To give themselves a life raft or a way to untether from that toxic situation, the idea is that basically their followers are on the chain so that they can move to whatever platform. You don't lose followers when you jump somewhere else. It's a first step towards an alternative platform structure or an alternative community structure that does not rely on passing through AWS and Google and relying on this huge stack from just a couple companies. Both of them, Channel and Jaded are awesome examples, and we help where we can.That's great. This really helps fill in a whole other part of your practice that I'm learning more and more about all the time. So I'm super excited to hear you talk about that.We have so many things in common and we have some really interesting overlapping happening between Team Rolfes and FuturePerfect Studio. It's very exciting and I can't wait to see more of your work and have more conversations with both of you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit futureperfect.substack.com

Summary:In this episode, our host Criena Gehrke speaks with Lisa Havilah, Chief Executive of the Powerhouse Museum in Australia. They unpack the visionary approach she has crafted over her career of shaping cultural institutions and precincts into culturally and commercially vibrant hubs. They discuss the imperative need to maintain your community engaged, to operate and program inclusively, as well as the significance of keeping an open-door policy, particularly towards emerging artists and cultural leaders.  After, Criena is joined by fellow host Adrian Ellis to discuss key takeaways. They reflect on the importance of bold but honest cultural leadership, alongside the need for cultural institutions to align practice with ethos for a coherent brand identity. References: Powerhouse Museum is one of Australia's oldest and most important cultural institutions.  Project Contemporary Artspace in Wollongong was founded by Lisa Havilah, Glen Barkley and Nathan Clarke. Casula Powerhouse Art Center, a multi-disciplinary arts centre in Western Sydney Campbelltown Arts Centre, an arts centre also based in Western Sydney Carriageworks, the largest multi-arts centre in Australia Afterpay Australian Fashion Week, Australia's only international fashion event that takes place throughout the Carriageworks precinct Sydney Contemporary, visual art fair presented by and staged at Carriageworks Powerhouse Parramatta is the largest investment in cultural infrastructure since the Sydney Opera House, and the first major cultural institution to be established in Western Sydney. Renewal of Powerhouse Ultimo, where it will be embedded into a new creative industries precinct Stolen Focus: Why You Can't Pay Attention--and How to Think Deeply Again by Johann Hari Guest bio:Lisa Havilah is the Chief Executive of the Powerhouse Museum. Through her visionary leadership, she is establishing a new museum paradigm for one of Australia's oldest and most important cultural institutions. From 2012 to 2019, Lisa was the Director of Carriageworks. Under her leadership, Carriageworks experienced extraordinary audience, artistic and commercial growth, becoming the fastest growing cultural precinct in Australia. She was recently named one of Sydney's most influential people in the Daily Telegraphs' Power 100 list.

Carriageworks cara yekê karekî şano û dansê ya nû ji hêla şîrketeke niştecîh û şîrketa dansa navçandî ya Australya, Marrugeku pêşkêş dike. Marrugeku tirsa cudahiya çandî pirsgirêkên herêmî û cîhanî dide berçav. Bi tevger, axaftin, sazkirin û muzîka resen ya hêzdar, li ser ezmûnên çandî û civakî yên cudaye wek Xelkê resen, koçber, kesên penaxwaz û regezguhertî. Beşine ji pirtûka Bêrûz Bûçanî ku wî di dema li Girava Manus bû nivîsaniye di şanoyê de tê bikaranîn. Em derbar wê mijarê bi berêz Bûçanî re diaxafin.

A special episode of Stop Everything recorded live at the Sydney Writers' Festival, in front of a real-life, 100% capacity crowd at Carriageworks. BL + BW appeared with two special guests: Carly Findlay, the editor of Growing Up Disabled in Australia, and Sam van Zweden, the author of Eating With My Mouth Open. We discussed the body, disability, fatness – and the medicalisation, language and politics around these things. If you need support or to talk to someone. The Butterfly Foundation is a site where you can find resources for eating disorders and body image: www.butterfly.org.au Lifeline is also available 24 hours: https://www.lifeline.org.au/ Show notes: Carly Findlay: https://carlyfindlay.com.au/ Sam van Zweden: https://samvanzweden.com/ Megan Jayne Crabbe aka body posi panda: https://www.instagram.com/bodyposipanda/ Lindy West, author of Shrill: https://www.lindywest.net/