Podcast appearances and mentions of Chris Kraus

De lo local a lo universal... Es la historia de tres barrios sevillanos en los años 70, pero también es la historia de muchos otros barrios periféricos de las grandes ciudades que crecieron en la segunda mitad del siglo XX. ‘Ellas en la ciudad’, documental de Reyes Gallegos, no es solo un relato de urbanismo, sino una narración coral de quienes habitan esos espacios. Un retrato íntimo y social en el que la ciudad se construye desde sus vecinas y vecinos.Laura Fernández nos habla de una de sus autoras vivas favoritas. Le encantan A. M. Homes, Joy Williams, Lionel Shriver, Lydia Davis o Mary Robison —leed ‘Por qué haría yo’—, pero fue el humor y el juego consigo misma de Chris Kraus lo que la atrapó desde el principio. Kraus, autora de ‘Amo a Dick’, explora las relaciones, la escritura y la autoficción con una mirada provocadora que ha marcado a toda una generación de lectoras.Arranca la vigésimo novena edición de la Fira Trapezi, el festival de circo contemporáneo de Reus. Es un escaparate del mejor talento actual, y además genera espacios de creación, reflexión y diálogo entre programadores, artistas y público. Daniel Galindo se traslada hasta allí acompañado de la codirectora del festival, Cristina Cazorla, para compartir el ambiente, los montajes más destacados y el pulso escénico de esta nueva edición.Escuchar audio

Nombre: LiaLeyendo: Romance Artístico, Chris Kraus¿Por qué quisiste leer esto? Traduje y edité este libro: le tengo mucho cariño.¿Cómo te grabaste? Con un micrófono que me prestó Juan Pablo, después de bañarme, en la primera tarde lluviosa del año./Why did you want to read this? I translated and edited this book, so I'm very fond of it.How did you record yourself? With a microphone that Juan Pablo lent me, after taking a shower, on the first rainy afternoon of the year.

Vamos às reviews relâmpago do que lemos de setembro a dezembro de 2024, na nossa escala habitual de Comprar, Kobo, e Cagar? Livros mencionados: - Os Detalhes, Ia Genberg (02:04) - All the Water in the World, Eiren Caffall (02:38) - A Novel Love Story, Ashley Poston (07:34) - ⁠A Malnascida, Beatrice Salvioni (08:16) - Just Last Night, Mhairi McFarlane (08:50) - Vista Chinesa, Tatiana Salem Levy (09:16) - ⁠Solitária, Eliana Alves Cruz (09:46) - Good Material (Bom Partido), Dolly Alderton (10:07) - I Love Dick, Chris Kraus (10:40) - And How Does That Make You Feel?: Everything You Never Wanted to Know About Therapy, Joshua Fletcher (11:05) - No Tempo das Cerejas, Célia Correia Loureiro (11:48) - The Weekend, Charlotte Wood (12:38) - ⁠Incidents Around the House, Josh Malerman (13:43) - This Summer Will Be Different (Este Verão Vai ser Diferente), Carley Fortune (14:40) - Triste Tigre, Neige Sinno (15:22) - Ariadne, Jennifer Saint (16:40) - Freckles, Cecelia Ahern (17:22) - Ruthless Vows (Promessas Cruéis), Rebecca Ross (18:11) - Um Lobo no Quarto, Valentina Silva Ferreira (19:02) - A Cicatriz, Maria Francisca Gama (19:52) - ⁠Deus Pátria Família, Hugo Gonçalves (20:02) - Elena Knows, Claudia Piñeiro (21:27) - Stay True (Lealdade), Hua Hsu (22:44) - Um Dedo Borrado de Tinta, Histórias de Quem Não Pôde Aprender a Ler, Catarina Gomes (23:50) - Intermezzo, Sally Rooney (25:15) - Hidden Pictures (Desenhos Ocultos), Jason Rekulak (25:51) - Brutes, Dizz Tate (26:48) - Savor It (Quando o Verão Terminar…), Tarah DeWitt (27:28) - Drive Your Plow Over the Bones of the Dead (Conduz o Teu Arado sobre os Ossos dos Mortos), Olga Tokarczuk (28:32) - The Bee Sting (A Picada de Abelha), Paul Murray (29:25) - Notes on Heartbreak (Notas sobre Corações Partidos), Annie Lord (29:49) - The Burnout, Sophie Kinsella (31:37) - Descansos, Susana Amaro Velho (31:53) - The Happy Couple (O Casal Feliz), Naoise Dolan (32:34) - The List, Yomi Adegoke (33:03) - Pequena Coreografia do Adeus & O Peso do Pássaro Morto, Aline Bei (34:32) - Nettle & Bone, T. Kingfisher (34:41) - The Third Gilmore Girl, Kelly Bishop (35:14) - The Vanishing Act of Esme Lennox (O Estranho Desaparecimento de Esme Lennox), Maggie O'Farrell (35:50) - Orbital, Samantha Harvey (36:29) - Diálogos Para o Fim do Mundo, Joana Bértholo (37:31) - The Ministry of Time (O Ministério do Tempo), Kaliane Bradley (37:57) - White Nights (Noites Brancas), Fyodor Dostoyevsky (38:21) - One Day in December (Um Dia em Dezembro), Josie Silver (38:53) - Graveyard Shift, M. L. Rio (39:27) - Demon Copperhead, Barbara Kingsolver (40:26) - We Used to Live Here, Marcus Kliewer (41:11) - Holiday Romance (Romance de Férias), Catherine Walsh (41:59) - A Origem dos Dias, Miguel D'Alte (42:38) - Snowed In, Catherine Walsh (43:02) - Ruído, Lisboa, uma cidade que não se cala, João Pedro Pincha (43:41) - Kiss Her Once for Me, Alison Cochrun (44:37) - ⁠Também os Brancos Sabem Dançar, Kalaf Epalanga (45:16) - The Fall of the House of Usher (A Queda da Casa de Usher), Edgar Allan Poe (45:56) - What Moves the Dead, T. Kingfisher (46:15) - A Sunny Place for Shady People (Um Lugar Luminoso para Gente Sombria), Mariana Enríquez (46:59) - There Are Rivers in the Sky, Elif Shafak (47:43) - Family Meal, Bryan Washington (48:07) - ⁠Querida Tia, Valérie Perrin (48:33) - The Wood at Midwinter, Susanna Clarke (49:07) - ⁠O Amor e Sua Fome, Lorena Portela (49:46) - Para Onde Vão os Guarda-Chuvas, Afonso Cruz (50:19) - Não Fossem as Sílabas do Sábado, Mariana Salomão Carrara (50:36) - Earth, John Boyne (51:06) - ⁠Melhor Não Contar, Tatiana Salem Levy (51:25) - Rodham, Curtis Sittenfeld (52:05) - ⁠A Educação Física, Joana Mosi (53:43) - Marigold e Rose, Louise Glück (54:23) ________________ Falem connosco: livratepodcast@gmail.com. Encontrem-nos em: www.instagram.com/julesdsilva // www.instagram.com/ritadanova Identidade visual: Mariana Cardoso (marianarfpcardoso@hotmail.com) Genérico: Vitor Carraca Teixeira (www.instagram.com/oputovitor)

What you're about to hear is a conversation between writer Verônika Shülman and myself, recorded last week at a party! In honor of the release of my new zine, Pivot, I hosted a party at NOTO and invited all of my friends. It was so nice to be in the same room with everyone after being stuck inside for most of the summer with a broken leg—in that time I had put together this zine, which is about the lessons I learned in the last decade and how I learned them.My friend and neighbor Verônika hosts this episode. She begins by reading from a book we both love (I Love Dick by Chris Kraus), then reads a bit that she liked from Pivot, and asks me to read an essay from it—which I do. My friends Maddie and Dexter also ask questions and we talk about more writers we love. If you want a copy of Pivot, below is how to get yourself a hard copy. Show notes:- Find Verônika on Instagram- Find me on IG: @letitouttt + @katiedalebout | Substack- PIVOT zine: sign up for my paid Substack & we'll mail you a copy - My book on journaling | WRITE kit- Check out NOTO!  If you liked this episode, try out from the archive:Episode 458: Introducing PIVOT with Simi BoticEpisode 423: I Can't Believe I'm Still Doing This...10 Years! With Sacha Jones

Miért váltak annyira népszerűvé a különféle önsegítő könyvek, és hogyan függ össze az önismeret az olvasással? Mit tehetnek a szülők az okostelefon uralta világban, és miért fontos meséket mondani a gyerekeknek?  A Nem rossz könyvek podcast új évadának első részében Máté Gábor magyar származású kanadai orvos és addiktológus, a függőségek és stresszbetegségek kutatója volt a vendégünk. A világhírű íróval az elmúlt években több nagyinterjút is készítettünk (itt, itt és itt olvashatóak), ezért ezúttal elsősorban a podcastunk tematikájába passzoló témákról kérdeztük.  Az epizód első felében szokás szerint a saját, friss olvasmányélményeinkről beszélgettünk (szóba került Oravecz Imre A rög gyermekei trilógiája, Doris Lessingtől Az arany jegyzetfüzet és Chris Kraus regénye, az I Love Dick), míg a második felében beszélgettünk a vendégünkkel. Mivel az epizódot nem a megszokott stúdiókörülmények között rögzítettük, ezért ezúttal az interjút szerkesztett formában írásban is közöljük: https://jo.444.hu/2024/09/26/mate-gabor-ki-kell-allni-a-kultura-hatasa-ellen-hogy-a-jozansagunkat-megorizzukSee omnystudio.com/listener for privacy information.

Ep 112 - Fan Fictions w/ Olivia Kan-Sperling: https://www.patreon.com/posts/112-fan-fictions-109775024?utm_medium=clipboard_copy&utm_source=copyLink&utm_campaign=postshare_creator&utm_content=join_link Paris Review assistant editor and Island Time author Olivia Kan-Sperling on Sally Rooney, Chris Kraus, fan fiction, and this n+1 essay she wrote: https://www.nplusonemag.com/online-only/online-only/toward-pop-literature/

Randl, Lola www.deutschlandfunkkultur.de, Lesart

Randl, Lola www.deutschlandfunkkultur.de, Lesart

Randl, Lola www.deutschlandfunkkultur.de, Lesart

1997 schreibt die erfolglose Videokünstlerin Chris Kraus in "I love Dick" über ihre Liebe zu einem ahnungslosen Kollegen ihres Mannes. Das Buch ist eher Autofiktion als Autobiographie. Zehn Jahre später wird es zum Kultbuch des Feminismus.// Von Jean-Claude Kuner - WDR/DLF 2018 - www.radiofeature.wdr.de Von Jean-Claude Kuner.

1997 schreibt die erfolglose Videokünstlerin Chris Kraus in "I love Dick" über ihre Liebe zu einem ahnungslosen Kollegen ihres Mannes. Das Buch ist eher Autofiktion als Autobiographie. Zehn Jahre später wird es zum Kultbuch des Feminismus.// Von Jean-Claude Kuner - WDR/DLF 2018 - www.radiofeature.wdr.de Von Jean-Claude Kuner.

This week, Joel's launching into a book that's been described as one of the most important pieces of 20th Century feminist literature, but it's also a book with "I LOVE DICK" in massive letters on the cover so, you know, highs and lows innit. Hosted on Acast. See acast.com/privacy for more information.

It wasn't until New Zealand playwright Eleanor Bishop was on the New York Broadway scene that she heard about Chris Kraus. 

Spätestens seit „Systemsprenger“ ist sein Name ein Household Name. Von „Berlin Alexanderplatz“ bis „Im Westen nichts Neues“ über „Fabian“ spielt sich Albrecht Schuch durch die deutsche Literatur. Aktuell ist er in Chris Kraus‘ „15 Jahre“ als Popstar zu sehen. Von wem er sich einiges für diese Figur abgeschaut hat, warum er keine Horrorfilme ansieht und welche Filme ihn glücklich machen, darüber sprechen wir in dieser Episode. Außerdem schlägt Christian Fuchs ihm vor, Florian Silbereisen zu spielen und wir denken uns „Siegfrid & Roy“-Biopics aus. Sollte man gehört haben.

In der 130. Folge von "Und was machst du am Wochenende?" ist die Schauspielerin Hannah Herzsprung zu Gast. Sie wurde 1981 in Hamburg geboren, ist auf dem bayerischen Land aufgewachsen und lebt heute in Berlin. Sie war in vielen herausragenden Filmen und Serien der vergangenen Jahre zu sehen, darunter "Die Geliebten Schwestern", "Das wahre Leben", "Traumfrauen", "Weissensee" und "Babylon Berlin". Sie wurde mit dem Deutschen und mit dem Bayerischen Filmpreis ausgezeichnet. Ihren Durchbruch im Kino hatte sie 2006 in "4 Minuten" von Chris Kraus, jetzt hat sie die Fortsetzung "15 Jahre" gedreht. Sie erinnert sich an ihre Wochenenden in Bayern, "das war wie Bullerbü". Ihre Familie war in ein kleines Dorf gezogen, weil Hannah Herzsprungs Vater Bernd Herzsprung eine Rolle in der Münchner Krimiserie "Soko 5113" angenommen hatte. "Ich habe oft die Milch mit der Kanne vom Bauern geholt", sagt sie, "auch wenn ich sie selbst gar nicht mochte." Im Podcast verrät sie Gastgeber Christoph Amend ihr Rezept für die besten Schinkennudeln, gibt zu, dass sie Online-Yoga macht – und am liebsten dreimal am Tag Käse isst. [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER [ANZEIGE] Fall Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos Die ZEIT. Hier geht's zum Angebot. [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER[ANZEIGE] Falls Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos Die ZEIT. Hier geht's zum Angebot.

JR The Bossman (⁠@JRTheBossman⁠) was joined by Stonehill Skyhawks Basketball Coach, Chris Kraus (⁠@CoachChrisKraus⁠). ⁠http://BossmanShow.com⁠ ⁠https://bossmanshow.com/12-18-23-bossman-show-chris-kraus-interview/

Stonehill Head Coach Chris Kraus joins us to talk his team's transition to D1, the opportunity to play a team like UConn, breaks down his roster, and calls out the local connections in this game.

This week Donnie and Tid are thrilled to welcome the NCAA Northeast Conference coach of the year, and the only Canadian head coach in NCAA basketball! From Stonehill University (Division 1), it's Chris Kraus. Chris is a long time friend of the show and he talks to the guys about his amazing career. From what initially inspired him to get into coaching, to the amazing run he's been on for over a decade. Sadly, between issues with Streamyard and weather patterns affecting internet quality - the last chunk of the interview is a little choppy. Definitely not the quality we are used to delivering, so we apologize for that!Regardless - check it out!

Claudia Dey's novel Daughter is a stark and beautiful portrait of the complicated dynamic between a young artist and her father. Dey joins us to talk about creating the distinct voice of the novel, complicated family relationships, writing a novel that's true and more.    I'm a Fan by Sheena Patel is a visceral look at one young woman's descent into the world of social media obsession with a sharp look at today's internet culture and what it means to exist online. Patel joins us to talk about the absurdity of internet fame, unlikable female characters, combining memes with literature and more.    Listen in as these authors speak separately with guest host Jenna Seery.    This episode of Poured Over was hosted by Jenna Seery and mixed by Harry Liang.           Follow us here for new episodes Tuesdays and Thursdays (with occasional Saturdays).    Featured Books (Episode): Daughter by Claudia Dey  I'm a Fan by Sheena Patel  Heartbreaker by Claudia Dey  Still Born by Guadalupe Nettel  I Love Dick by Chris Kraus  Motherhood by Sheila Heti  Minor Feelings by Cathy Park Hong  Life with Picasso by Françoise Gilot  Intimacy by Hanif Kureishi 

Þessa dagana er Lestin í nokkra daga hléi til að undirbúa seríu sem kemur út í næstu viku. Meðan á þessum undirbúningi stendur höfum við verið að endurflytja nokkra af okkar bestu þáttum. Í dag er það viðtal við nýsjálenska rithöfundinn Chris Kraus um bók hennar I Love Dick, og vangaveltur um sumarmelankólíu.

Þessa dagana er Lestin í nokkra daga hléi til að undirbúa seríu sem kemur út í næstu viku. Meðan á þessum undirbúningi stendur höfum við verið að endurflytja nokkra af okkar bestu þáttum. Í dag er það viðtal við nýsjálenska rithöfundinn Chris Kraus um bók hennar I Love Dick, og vangaveltur um sumarmelankólíu.

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices

Lauren Fournier, writer, independent curator, artist, and author of Autotheory as Feminist Practice in Art, Writing, and Criticism discusses her forthcoming book with writer, educator and philosopher McKenzie Wark (A Hacker Manifesto, Gamer Theory, Capital Is Dead, Reverse Cowgirl.) In the 2010s, the term “autotheory” began to trend in literary spheres, where it was used to describe books in which memoir and autobiography fused with theory and philosophy. In this book, Lauren Fournier extends the meaning of the term, applying it to other disciplines and practices. Fournier provides a long-awaited account of autotheory, situating it as a mode of contemporary, post-1960s artistic practice that is indebted to feminist writing, art, and activism. Investigating a series of works by writers and artists including Chris Kraus and Adrian Piper, she considers the politics, aesthetics, and ethics of autotheory. Fournier argues that the autotheoretical turn signals the tenuousness of illusory separations between art and life, theory and practice, work and the self—divisions long blurred by feminist artists and scholars. Autotheory challenges dominant approaches to philosophizing and theorizing while enabling new ways for artists and writers to reflect on their lives. She argues that Kraus's 1997 I Love Dick marked the emergence of a newly performative, post-memoir “I”; recasts Piper's 1971 performance work Food for the Spirit as autotheory; considers autotheory as critique; examines practices of citation in autotheoretical work, including Maggie Nelson's The Argonauts; and looks at the aesthetics and ethics of disclosure and exposure, exploring the nuanced feminist politics around autotheoretical practices and such movements as #MeToo. Fournier formulates autotheory as a reflexive movement, connecting thinking, making art, living, and theorizing. Hosted and produced by Sam Kelly; Mixed by Samantha Doyle; Soundtrack by Kristen Gallerneaux Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Best known for its introduction of French theory to American readers, Semiotext(e) has been one of America's most influential independent presses since its inception more than three decades ago. Publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism and confession.  In this interview Chris Kraus and Hedi El Kholti, who run Semitext(e) alongside Sylvère Lotringer, discuss the history of the press.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Best known for its introduction of French theory to American readers, Semiotext(e) has been one of America's most influential independent presses since its inception more than three decades ago. Publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism and confession.  In this interview Chris Kraus and Hedi El Kholti, who run Semitext(e) alongside Sylvère Lotringer, discuss the history of the press.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Best known for its introduction of French theory to American readers, Semiotext(e) has been one of America's most influential independent presses since its inception more than three decades ago. Publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism and confession.  In this interview Chris Kraus and Hedi El Kholti, who run Semitext(e) alongside Sylvère Lotringer, discuss the history of the press.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

City Lights presents Douglas Kearney reading from his new book and in conversation with Tisa Bryant. Douglas Kearney celebrates his collection of lectures "Optic Subwoof" published by Wave Books. This virtual event was hosted by Peter Maravelis. You can purchase copies of "Optic Subwoof" directly from City Lights here: https://citylights.com/optic-subwoof/ Douglas Kearney has published seven poetry collections, including "Sho" (Wave 2021), which was a finalist for the National Book Award, PEN Award, and the Kingsley Tufts Poetry Award, and "Buck Studies" (Fence Books, 2016), winner of the Theodore Roethke Memorial Poetry Award, the CLMP Firecracker Award for Poetry, and the California Book Award silver medal for poetry. M. NourbeSe Philip calls Kearney's collection of libretti, "Someone Took They Tongues" (Subito, 2016), “a seismic, polyphonic mash-up.” Kearney's "Mess and Mess and" (Noemi Press, 2015), was a Small Press Distribution Handpicked Selection that Publisher's Weekly called “an extraordinary book.” He has received a Whiting Writer's Award, a Foundation for Contemporary Arts Cy Twombly Award for Poetry, residencies/fellowships from Cave Canem, The Rauschenberg Foundation, and others. Kearney teaches Creative Writing at the University of Minnesota–Twin Cities and lives in St. Paul with his family. Tisa Bryant teaches fiction and non-fiction, mythologies, cross-cultural/cross-genre/hybrid writing, and much more at Calarts. She is the author of the book "Unexplained Presence" (Leon Works, 2007), her first full-length book, is a collection of original, hybrid essays that remix narratives from film, literature and visual arts and zoom in on the black presences operating within them. An excerpt from her novella, "[the curator]", was published by Belladonna Books in 2009, in a companion volume with writer Chris Kraus. She is also the author of the chapbook, "Tzimmes" (A+Bend Press, 2000), a prose poem collage of narratives including a Barbados genealogy, a Passover seder and a film by Yvonne Rainer. She is interested in archives, hybrid forms, mythologies, ethnicity and innovation, the interdependence of experimental and conventional fiction, cinematic novels and ekphrastic writing. Bryant's writing has appeared in "Evening Will Come", "Mandorla", "Mixed Blood", "in the ‘zine", "Universal Remote: Meditations on the Absence of Michael Jackson" and in the catalogues and solo shows of visual artists Laylah Ali, Jaime Cortez, Wura-Natasha Ogunji and Cauleen Smith. She is co-editor, with Ernest Hardy, of "War Diaries", an anthology of black gay male desire and survival, from AIDS Project Los Angeles, which was nominated Best LGBTQ anthology by the LAMBDA Literary Awards. She is also co-editor/publisher of the hardcover cross-referenced literary/arts series, "The Encyclopedia Project", which recently released Encyclopedia Vol. 2 F-K. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

We're on our end of year break, but didn't want to leave you without some LF to keep you company while you cook up your leftovers and potter around in your new socks. So, inspired by one of our new listeners, Charlotte, who tweeted to tell us how much she enjoyed an old episode, we're re-running one of our favourite conversations from way back: in 2016 we met with Chris Kraus to talk about her book I Love Dick, which was being published in the UK for the first time. It's a classic of feminist literature first published in the States in 1997, a genre-bending novel about lust, desire and making art that investigates the power of infatuation and subverts the convention of the muse. We hope you enjoy listening and we'll be back with an absolutely belting new season in 2023!

Skáldsagan I love dick eftir nýsjálenska rithöfundinn Chris Kraus kom út fyrir 25 árum og er skrifuð að stærstum hluta í formi bréfa - öll stíluð á sama manninn, Dick. Sögumaður bókarinnar Chris Kraus verður ástfangin af prófessornum Dick - sem hún þekkir varla. Ásamt eiginmanni sínum að skrifa ástarbréf til hans. Þetta er skáldsaga um þrá, ást, samskipti konur og karla, gagnkynhneigð, jaðarsetningu og list, völd og höfnun, þráhyggju og útrás. Bókin er umdeild enda er hún byggð á raunverulegu fólki og raunverulegum aðstæðum. Í Lestinni í dag hringjum við til Los Angeles og ræðum við uppáhalds rithöfund Lóu, Chris Kraus, um feminisma, ástina og Dick. Og í seinni hluta þáttar heldur Viktoría Blöndal áfram að fjalla um fótboltaást í samtímanum. Að þessu sinni pælir hún í Fantasy-fótbolta.

Skáldsagan I love dick eftir nýsjálenska rithöfundinn Chris Kraus kom út fyrir 25 árum og er skrifuð að stærstum hluta í formi bréfa - öll stíluð á sama manninn, Dick. Sögumaður bókarinnar Chris Kraus verður ástfangin af prófessornum Dick - sem hún þekkir varla. Ásamt eiginmanni sínum að skrifa ástarbréf til hans. Þetta er skáldsaga um þrá, ást, samskipti konur og karla, gagnkynhneigð, jaðarsetningu og list, völd og höfnun, þráhyggju og útrás. Bókin er umdeild enda er hún byggð á raunverulegu fólki og raunverulegum aðstæðum. Í Lestinni í dag hringjum við til Los Angeles og ræðum við uppáhalds rithöfund Lóu, Chris Kraus, um feminisma, ástina og Dick. Og í seinni hluta þáttar heldur Viktoría Blöndal áfram að fjalla um fótboltaást í samtímanum. Að þessu sinni pælir hún í Fantasy-fótbolta.

JR The Bossman (@JRTheBossman) was joined by Stonehill Skyhawks Basketball Coach, Chris Kraus (@CoachChrisKraus). http://BossmanShow.com https://bossmanshow.com/10-15-22-bossman-show-chris-kraus-interview/

Når man tenker etter, er bøker noe nesten magisk. Tenk at litt dødt tre og blekk kan inneholde så mange utrolige verdener og fantastiske erfaringer. I Claire-Louise Bennetts roman Kasse 19 (til norsk ved Bjørn Alex Herrman) er bøkene nærmest talismaner: mystiske, forføreriske, transformative og fulle av uante hemmeligheter.Kasse 19 handler framfor alt om gleden ved å lese, om når fiksjonen blir så spill levende at du tar den med deg inn i den virkelige verden. Gjennom en rekke kapitler – fortalt i jeg-, hun- og til og med vi-form – følger vi utviklingen til hovedpersonens fra liten jente til voksen kvinne, gjennom barndom, fribløding og dårlige kjærester. Samtidig er det en utvikling fra leser til forfatter, men ikke uten en rekke avsporinger og snirklete omveier: Et møte med en kunde på supermarkedet blir utgangspunktet for en detaljert historie om bakgrunnen hans. En tidlig selvskrevet historie eser ut i de underligste retninger. Claire-Louise Bennetts språk er et overflødighetshorn, og på lekent og originalt vis tar hun oss med inn i sin rike og merksnodige verden.Bennett er britisk, og bor i dag i Irland. Hun debuterte med den kritikerroste romanen Dam i 2015, og hylles av forfattere som Chris Kraus og Karl-Ove Knausgård.Amalie Kasin Lerstang er forfatter av romanen Europa og diktsamlingen Vårs, samt redaktør for blant annet diktantologien En eller to eller hundrevis av søstre. På Litteraturhuset møter hun Bennett til samtale om fantasiens kraft og skaperglede hos kunstnere og lesere.Samtalen foregår på engelsk. Hosted on Acast. See acast.com/privacy for more information.

Das absurde Familienepos "Scherbentanz" von Chris Kraus erschien erstmals 2002, wie auch der Film zum Buch, mit Jürgen Vogel in der Hauptrolle, als Rock tragender und an Leukämie erkrankter Sohn Jesko.

We are hosting Paul O'Neill. We closed our last episode at a crucial and rather existential moment. This second part of our conversation extends to our small group of audience members. You will hear Paul responding to questions on the educational turn, auto-theory, and variations on how to work with artists.Ahali Conversations are often recorded with an intimate group of audience members, so if you'd like to be in the loop, and join live sessions, please feel free to get in touch.EPISODE NOTES PART 2This episode includes questions by Alessandra Saviotti, Ula Soley, Enrico Arduini, and Furkan İnan. Paul O'Neill is a curator, artist, writer, and educator. He is currently the artistic director of Publics, in Helsinki, Finland.Institute of Contemporary Arts (ICA) is an artistic and cultural center based in London. https://www.ica.art/Mick Wilson is an artist, educator and researcher based in Gothenburg and Dublin.Adrian Rifkin is a professor of art writing at Goldsmiths, University of London. http://gai-savoir.net/Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art.Richard Birkett was a curator at the ICA, London; and at the Artists Space in New York. He is currently a curator at the Yale Union art center in Portland, Oregon.Dave Beech is an artist and writer. https://www.davebeech.co.uk/Sarah Pierce is an artist based in Dublin.Nought to Sixty was a program of exhibitions and events, curated by Richard Birkett at the ICA, in 2008. Over the course of six months, the program was presenting solo projects by sixty emerging British- and Irish-based artists. https://archive.ica.art/nought-sixty-artists-index/The Copenhagen Free University is an artist-run institution, dedicated to the production of critical consciousness and poetic language. https://en.wikipedia.org/wiki/Copenhagen_Free_Universityunitednationsplaza is a project by Anton Vidokle in collaboration with Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr, and Walid Raad It operated as a temporary, experimental school in Berlin, following the cancellation of Manifesta 6 on Cyprus, in 2006. The project traveled to Mexico City (2008) and to New York City under the name Night School (2008-2009) at the New Museum. Its program was organized around a number of public seminars, most of which are available in the online archive. https://www.unitednationsplaza.org/The text Paul was referring to –Introduction to The Paraeducation Department– written by Annie Fletcher and Sarah Pierce is in the anthology Curating and the Educational Turn edited by Paul O'Neill and Mick Wilson: https://betonsalon.net/PDF/essai.pdfKate Zambreno is an American novelist, essayist, critic, and professor.Roland Barthes (1915 – 1980) was a French literary theorist, essayist, philosopher, critic, and semiotician. https://en.wikipedia.org/wiki/Roland_BarthesOctavia Butler (1947 – 2006) was an American science fiction author. Her writings have finally attracted well-deserved attention in the past years.https://en.wikipedia.org/wiki/Octavia_E._ButlerMaryam Jafri is a Copenhagen-based American artist. The artist's book Independence Days presents an expanded version of her photo installation and includes texts by Ariella Aïsha Azoulay, Paul O'Neill, Nina Tabassomi. https://www.maryamjafri.net/Lygia Pimentel Lins (1920 – 1988), better known as Lygia Clark, was a Brazilian artist and co-founder of Neo-Concrete movement. https://en.wikipedia.org/wiki/Lygia_ClarkP! is a multidisciplinary gallery and project space formerly in New York, currently based in Berlin. http://p-exclamation.com/Taken place in P!, in 2016, We are the (Epi)center was a group exhibition organized with the Center for Curatorial Studies, Bard College, featuring: Can Altay, David Blamey, Katarina Burin, Jasmina Cibic, Céline Condorelli, Marjolijn Dijkman, Chris Kraus, Gareth Long, Ronan McCrea, Harold Offeh, William McKeown, Eduardo Padilha, Sarah Pierce, Richard Venlet, Grace Weir, and many others.PARSE is an international artistic research publishing and biennial conference platform based in the Faculty of Fine, Applied and Performing Arts at University of Gothenburg. This is the visual essay Paul was referring to: https://parsejournal.com/article/before-and-after/Autotheory refers to a critical approach in which the author uses personal experiences as the major creative force and the body as the source of knowledge.Sigmund Freud (1856 – 1939) is an Austrian neurologist and the founder of psychoanalysis. Jacques Marie Émile Lacan (1901-1981) is a French psychoanalyst and interpreter of Sigmund Freud's studies. Their contributions to the psychoanalytic theory have been influential on the literary theory in terms of deciphering a work based on the psychological condition its author is in, or conversely, portraying such condition through unconscious revelations of the author within the work.Maggie Nelson is an American writer. https://en.wikipedia.org/wiki/Maggie_NelsonSemiotext(e) is an independent press, publishing works of theory, fiction, madness, economics, satire, sexuality, science fiction, activism, and confession. http://www.semiotextes.com/McKenzie Wark is an Australian-born writer and professor of Media and Culture at Hudson University.Raymond Williams (1921 – 1988) was a Welsh socialist writer, academic, novelist, and critic. In his essay Dominant, Residual, and Emergent, he characterizes the grounded parts of cultural groups and their operating methods. https://en.wikipedia.org/wiki/Raymond_WilliamsStephen Wright is a writer and gardener. Listen to Episode 1 to get to know him better. https://www.ahali.space/episodes/episode-1-stephen-wrightTania Bruguera is an artist and activist. https://www.taniabruguera.com/Dr. Gregory Sholette is a New York-based artist, writer, teacher, and activist.NTS is a global radio station and media platform founded in 2011 by Femi Adeyemi. https://www.nts.live/Bjork is an Icelandic singer, songwriter, composer, record producer, and actress. https://bjork.com/Annie Fletcher is the Director of the Irish Museum of Modern Art.Leninism is a political ideology developed by Russian Marxist revolutionary Vladimir Lenin that proposes the establishment of communism through dictatorship of the proletariat.Stalinism is a totalitarian extension of Leninism and a period of governing by Joseph Stalin in the Soviet Union from 1927 to 1953.COALESCE is an ongoing exhibition project by Paul O'Neill which takes place at different locations with different artists and shapes around the idea of cohabitation.

We are hosting the curator, artist, writer, and educator Paul O'Neill. Paul is someone who is very attentive and elaborate in figuring out and shaping thought around curatorial and artistic work. Together, we delve into his take on what publics means and discuss the importance of opening up spaces of contact and sites for ‘working together'. We also scrutinize the state of art institutions today and their future, along with hearing his take on the convergence of exhibition-making and programming, along with insights on establishing and running an institution or an art space today.We release this conversation in two parts, something we've never done before. But there was so much valuable insight in the q&a session that I thought this time deserves its own space.EPISODE NOTES PART 1Paul O'Neill is a curator, artist, writer, and educator. He is the artistic director of Publics. O'Neill has held numerous curatorial and research positions over the years and taught in many curatorial and visual arts programs in Europe, the UK, and the USA. He was the Director of the Curatorial Studies program and the Center for Curatorial Studies at Hessel Museum at the Bard College, NY. He has co-curated more than sixty projects across the world including We are the (Epi)center, P! Gallery, New York (2016), and the multi-faceted We are the Center for Curatorial Studies for the Hessel Museum, Bard College (2016-17). He has co-edited the books Kathrin Böhm; Art on the Scale of Life, MIT Press (forthcoming), Curating After the Global; Roadmaps to the Present, MIT Press, CCS Bard and LUMA Foundation, Arles 2019, How Institutions Think; Between Contemporary Art and Curatorial Discourse, MIT Press, 2017, and many more.http://www.pauloneill.org.ukPUBLICS is a curatorial agency with a dedicated library, event space, and reading room in Helsinki. PUBLICS follows and expands on O'Neill's critical social thinking, contemporary art, and publicness, with a much more open and participatory stance. https://www.publics.fiCenter for Curatorial Studies is an experimentation base at Bard College dedicated to curatorial studies and exhibition making. The Hessel Museum of Art in Bard College is an extension of the Center for Curatorial Studies. https://ccs.bard.edu/Checkpoint Helsinki, was a contemporary art organization that operates as a critical platform to support local cultural activities and public engagement while contributing to the international visibility of artistic production in the city of Helsinki. https://www.checkpointhelsinki.orgJulia Studio is a design practice that brings together graphic and spatial design. Operating between London, Paris and Rome. https://julia.studioLiam Gillick is an artist based in New York. https://liamgillick.info/Kathrin Böhm is an artist. Listen to Episode 13 to get to know her better. https://www.ahali.space/episodes/episode-13-kathrinbohmCasco Art Institute: Working for the Commons is a non-profit public art institution based in Utrecht. https://casco.artBétonsalon is a center for contemporary art and research-based practice in Paris. https://www.betonsalon.netSAVVY, the laboratory of form and ideas is a public cultural institution based in Berlin. Find more about SAVVY in Episode 15, featuring Bonaventure Soh Bejeng Ndikung:https://savvy-contemporary.com/https://www.ahali.space/episodes/episode-15-bonaventureWalter Benjamin criticizes the monistic approach of historical materialism and considers history as a concept made out of self-standing memory layers and relations.Chris Kraus is an American writer and filmmaker. https://en.wikipedia.org/wiki/Chris_KrausCynthia Cruz is a contemporary American poet. http://cynthiacruzblog.blogspot.com/Eliisa Suvanto​ is the Program Manager at PUBLICS.Shimmer is a curatorial studio based in Rotterdam. https://shimmershimmer.org/Latitudes is a curatorial office based in Barcelona that works internationally across contemporary art practices. https://www.lttds.org/Laia Estruch is an artist based in Barcelona. https://laiaestruch.com/Black Lives Matter is a decentralized political and social movement and a growing quest for racial justice, began in 2013, as a reaction to the acquittal of George Zimmerman in the shooting death of African-American teen Trayvon Martin. https://en.wikipedia.org/wiki/Black_Lives_MatterMeToo is a phrase coined by sexual assault survivor and activist Tarana Burke. Following its initial use in 2006, to establish an empowering ground among survivors, it became a social movement against sexual abuse, sexual harassment, and rape culture. https://en.wikipedia.org/wiki/MeToo_movementMary Douglas (1921 – 2007) was a British anthropologist. In her book “How Institutions Think”, Douglas discusses the recurring effects of individuals and institutions on each other, regarding the processes of thinking. https://www.routledge.com/How-Institutions-Think-Routledge-Revivals/Douglas/p/book/9780415684781SHAPE map is a website resource for Helsinki's contemporary art landscape, a mapping of art spaces and public events across the city. https://www.shape-helsinki.fi/Multiples X was an organization that commissioned and supported curated exhibitions of artist'' editions.Keller Easterling is an architect, writer, and professor of architecture.Listen to Episode 25 to get to know her better. https://www.ahali.space/episodes/25kellereasterling

This week I spoke with Jennie Edgar, who has led (as she says) many lives, from starting a pie business to working as a freelance editorial and art director. Since 2018, Jennie has been writing and designing for thoughtful brands to refine their editorial voice and aesthetic expression. Additionally, she's a visual artist and the founder of So Textual, a platform that promotes community around reading, so we talk about her style of reading and how that varies from her husband's and mine, and how the way we read, as well as what we read, is unique to each of us. We also cover effect theory, book culture, and literary artists we love like Eve Babitz, Adrianne Lenker, her grandma, and Nora Ephron. She talks about looking at one's life like a project and answers a question from our mutual friend Maddie on what it means to be a narrative-led person. I loved this wide-ranging conversation and am eager to hear what you think of it and how you read. Show Notes:- Follow Jennie on the Web | Instagram- Check out So Textual on the Web | Instagram- I Love Dick by Chris Kraus- Amy Hempel's collected stories- Sign up for Maddie Coleman's newsletter- The Podcast Kit is 50% off through the end of July with code summer- Sign up for the waitlist for the re-imagined Creative Underdogs/In Process (coming soon)!- Subscribe to our newsletter to get show notes + essays, etc. sent to your inbox- Follow @letitouttt on Instagram. I'm @katiedalebout Sponsors:First Person cognitive supplements: get 15% percent off your first order by going to getfirstperson.com and use code letitout

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford 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

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this episode Kim speaks with Lauren Fournier about autotheory. Lauren has recently published a book on the subject, titled Autotheory as Feminist Practice in Art, Writing, and Criticism (MIT Press, 2021). In the episode she points to Maggie Nelson's book The Argonauts as the book that made the term famous, but refers us to a longer history of autotheoretical feminist writing, including work by Gloria E. Anzaldúa, Audre Lorde, and bell hooks. She also mentions critical research by Zoe Todd, “An Indigenous Feminist's Take On The Ontological Turn: ‘Ontology' Is Just Another Word For Colonialism” and the book I Love Dick, by Chris Kraus. Lauren is a writer, curator, and artist, who currently holds a SSHRC postdoctoral fellowship in visual studies at the University of Toronto. She is currently co-editing a special issue of ASAP Journal on Autotheory with her colleague Alex Brostoff. Her novella, All My Dicks, is forthcoming with Fiction Advocate. Image: Art by Sona Safaei-Sooreh Music used in promotional material: ‘Braided Flower' by Lee Maddeford Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Alec and Nick consider the music and cultural impact of Frank Sinatra through a discussion of his album, “Sinatra At The Sands” — recorded in 1966 at the famous Las Vegas hotel and casino. Drawing from observations about Sinatra's iconicity as a stylist of American popular song, a persisting contemporary signifier of celebration and kitchen-sink comfort and a high water mark of traditional masculinity and coolness, the conversation explores broad cultural dynamics of authenticity and “normalcy” as an aesthetics of traumatic, reparative coping. Topics include the Lindy effect, the old Hollywood/New York divide, PC Music, Jean Baudrillard's 1996 headlining appearance at the Chance Event (organized by Chris Kraus), and more.

Leer Toxic Loves, Impossible Futures es como estar invitada a una cena íntima con las personas que han tenido un impacto enorme en tu forma de ver y analizar el mundo y con quienes has pasado muchísimo tiempo – en tu cerebro. Pero además de inspirar momentos profundos de crecimiento intelectual, lo que te sorprende es el acercamiento emocional que produce Emmelhainz, productora de esta situación. En este sentido, la autora sigue lo que se espera de un discurso feminista, romper la expectativa de que un texto intelectual te ponga en la situación pasiva de sólo recibir información. El impacto de leer desde esta perspectiva analítica, emocional y empoderada, es imprescindible. Toxic Loves, Impossible Futures entra en discurso con una combinación de escritoras feministas y creadores para después crear un mapa del momento actual en crisis global, ambiental y política que se fomenta a través de un desprecio tanto de la vida humana como las relaciones interpersonales. En un mundo en el cual la voz de la mujer existe en cuerpos que supuestamente se deben ocupar puestos importantes en corporaciones, el gobierno, además de institutos culturales y académicos, y también trabajar en fábricas y participar en el ejército – estos mismos cuerpos sistemáticamente convertidos en cuerpos vulnerables por la violencia de género y la responsabilidad doble que se les impone por exigir labor productivo y reproductivo – Emmelhainz pregunta: ¿Cuál es el trabajo de los pensamientos y las materias contemporáneos situados en conocimiento feminista? Este libro es una colección de ensayos en los cuales se propone re-pensar asuntos feministas en este momento lleno de producción de poblaciones superfluas, la omnipresencia de la esfera tecnológica y desastre ambiental, relaciones tóxicas, nacionalismos tóxicos y mas. Son diálogos en los cuales las voces de mujeres como bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Grunerque proponen la necesidad uberurgente de resistir el presente. Toxic Loves, Impossible Futures avanza el discurso de cómo deshacer la misoginia, además de derribar las trampas denigrantes y sublimatorias contra las mujeres perpetuadas por el sistema heteropatriarcal, trampas que se entrelazan íntimamente con el colonialismo y la violencia contra la Tierra. Entrevista por Candance Skibba profesora en la Universidad de Carnegie Mellon en Pittsburgh, Pennsylvania.

Leer Toxic Loves, Impossible Futures es como estar invitada a una cena íntima con las personas que han tenido un impacto enorme en tu forma de ver y analizar el mundo y con quienes has pasado muchísimo tiempo – en tu cerebro. Pero además de inspirar momentos profundos de crecimiento intelectual, lo que te sorprende es el acercamiento emocional que produce Emmelhainz, productora de esta situación. En este sentido, la autora sigue lo que se espera de un discurso feminista, romper la expectativa de que un texto intelectual te ponga en la situación pasiva de sólo recibir información. El impacto de leer desde esta perspectiva analítica, emocional y empoderada, es imprescindible. Toxic Loves, Impossible Futures entra en discurso con una combinación de escritoras feministas y creadores para después crear un mapa del momento actual en crisis global, ambiental y política que se fomenta a través de un desprecio tanto de la vida humana como las relaciones interpersonales. En un mundo en el cual la voz de la mujer existe en cuerpos que supuestamente se deben ocupar puestos importantes en corporaciones, el gobierno, además de institutos culturales y académicos, y también trabajar en fábricas y participar en el ejército – estos mismos cuerpos sistemáticamente convertidos en cuerpos vulnerables por la violencia de género y la responsabilidad doble que se les impone por exigir labor productivo y reproductivo – Emmelhainz pregunta: ¿Cuál es el trabajo de los pensamientos y las materias contemporáneos situados en conocimiento feminista? Este libro es una colección de ensayos en los cuales se propone re-pensar asuntos feministas en este momento lleno de producción de poblaciones superfluas, la omnipresencia de la esfera tecnológica y desastre ambiental, relaciones tóxicas, nacionalismos tóxicos y mas. Son diálogos en los cuales las voces de mujeres como bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Grunerque proponen la necesidad uberurgente de resistir el presente. Toxic Loves, Impossible Futures avanza el discurso de cómo deshacer la misoginia, además de derribar las trampas denigrantes y sublimatorias contra las mujeres perpetuadas por el sistema heteropatriarcal, trampas que se entrelazan íntimamente con el colonialismo y la violencia contra la Tierra. Entrevista por Candance Skibba profesora en la Universidad de Carnegie Mellon en Pittsburgh, Pennsylvania.

Toxic Loves, Impossible Futures: Feminist Living as Resistance (Vanderbilt UP, 2022) is an homage to a constellation of women writers, feminists, and creators whose voices draw a map of our current global political-environmental crisis and the interlinked massive violence, enabled by the denigration of life and human relationships. In a world in which "a woman's voice" exists in bodies called on to occupy important positions in corporations, government, and cultural and academic institutions, to work in factories, and to join the army—but whose bodies are systematically rendered vulnerable by gender violence and by the double burden imposed on them to perform both productive and reproductive labor—Emmelhainz asks: What is the task of thought and form in contemporary feminist-situated knowledge?  Toxic Loves, Impossible Futures is a collection of essays rethinking feminist issues in the current context of the production of redundant populations, the omnipresence of the technosphere and environmental devastation, toxic relationships, toxic nationalisms, and more. These reflections and dialogues are an urgent attempt to resist the present in the company of the voices of women like bell hooks, Sara Ahmed, Leslie Jamison, Lina Meruane, Leanne Betasamosake Simpson, Chris Kraus, Alaíde Foppa, Lorena Wolffer, Sayak Valencia, Pip Day, Veronica Gonzalez Peña, Eimear McBride, Simone de Beauvoir, Elena Poniatowska, Susan Sontag, Margaret Randall, Simone Weil, Arundhati Roy, Marta Lamas, Paul B. Preciado, Dawn Marie Paley, Raquel Gutiérrez, Sara Eliassen, and Silvia Gruner. Toxic Loves, Impossible Futures continues the discussion on how to undo misogyny and dismantle heteropatriarchy's sublimating and denigrating tricks against women, which are intrinsically linked to colonialism and violence against the Earth. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wet Brain is back. Sorry about last week. Walt is back from Milan and has a fever. Mad calls this episode to make up for our absence. First a call to Nicky of Nothing on the shoegaze revival and his epic beefs with that girl from Slowdive and Martin Shkreli. Next up Peter Vack (@themasterofcum) and Ava Pearlman discuss love, bar mitzvahs and meme making. Then we call Sam (@Semiotexteofficial) to get that tea on his beef with Chris Kraus' nephew, his meme making process and his dark modeling past. Next we check in on Sierra (@unbridled_id) at college to discuss sororities, poetry, Calvinism and shyness. Finally a call to Honor's grammy Arlene (@figgycake) for another family history lesson. Alright hope everyone has a nice week

We discussed: are we ahead of the curve or behind the curve, the importance of juxtaposition in works of art, questioning 'how' and 'why', the value of working collaboratively, the importance of resistance, serendipity, the benefits of constructive criticism, copyright and sampling, Fair Use laws, art is not made in a vacuum, NFT art, creating an artist residency, and Arts funding in Scandinavia.   3 artist that inspire him: James Turrell - https://jamesturrell.com Kid Koala - https://kidkoala.com Itonje Søimer Guttormsen - https://www.imdb.com/name/nm4130937/ Hanan Benammar - https://www.onewaytoadesert.com     People + Places mentioned: The Toaster Project - http://www.thomasthwaites.com/the-toaster-project/ Verk Prodcutions - http://verkproduksjoner.no/ Negativland vs U2 lawsuit - https://www.vulture.com/2016/07/that-time-negativland-trolled-u2-into-suing-them.html Paul's Boutique, album by Beastie Boys - https://classicalbumsundays.com/album-of-the-month-beastie-boys-pauls-boutique/ Joan Didion, The White Album - https://www.thejoandidion.com/the-white-album Net Art - https://netspecific.net/en/netspecific/what-is-net-art Beeple - https://www.beeple-crap.com Exit TV show - https://www.nordiskfilmogtvfond.com/news/stories/norwegians-go-wild-for-nrk-financial-series-exit Chiara Giovando - http://chiaragiovando.com Human Resources - https://www.h-r.la I Love Dick, Novel by Chris Kraus - https://mitpress.mit.edu/books/i-love-dick Reality Check - http://www.liveart.org/motherboard/reality/index.html     http://www.perplatou.net Project Space Landers - http://landers.space https://www.imdb.com/title/tt11818426/   Edited by Jakub Černý Hosted by Matthew Dols http://www.matthewdols.com   Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org             and we appreciate the assistance of our partners in this project: Hunt Kastner - https://huntkastner.com Kunstsentrene i Norge - https://www.kunstsentrene.no               Transcript available: https://wisefoolpod.com/transcript-for-episode-174-sound-artist-per-platou-norway/