Podcast appearances and mentions of Christian Marclay

Settembre è uno dei mesi dell'anno in cui escono i libri più interessanti. Per questa puntata di Comodino Giulia Pilotti e Ludovica Lugli si sono dedicate a L'imperatore della gioia, dello scrittore e poeta statunitense Ocean Vuong, pubblicato da Guanda, e a La sparizione, della scrittrice e poeta russa Marija Stepanova, uscito per Bompiani. Vuong ha 36 anni e origini vietnamite. Negli Stati Uniti aveva avuto molto successo di pubblico e critica con Brevemente risplendiamo sulla terra, il suo primo romanzo, autobiografico. Stepanova ha 53 anni e da qualche anno vive in Germania. Nel 2020 era uscito in Italia il suo memoir familiare Memoria della memoria, che l'aveva fatta conoscere anche al di fuori della Russia. Nella puntata sono stati citati anche un paio di libri di Ben Lerner, Nel mondo a venire e Odiare la poesia, oltre all'opera The Clock di Christian Marclay. LEGGI ANCHE: Una lista di libri consigliati che non esistono Learn more about your ad choices. Visit megaphone.fm/adchoices

In deze aflevering ontvangt Teddy Tops beeldend kunstenaar Lilian Kreutzberger. (https://liliankreutzberger.nl/) Haar expositie RAUHFASER (https://krollermuller.nl/lilian-kreutzberger-rauhfaser) is nu te zien in het Krüller-Möller museum. Ze deelt haar cultuurtips met Teddy en de luisteraar. De tips van Lilian: Muziek: Kanye West Preacherman (https://open.spotify.com/track/24rgAXRpEipfaxJNElCXPE?si=361d91557a3e47b0) Concert: Rewire x Korzo (https://www.rewirefestival.nl/event/rewire-x-korzo-23), Vivaldi Vier seizoenen door Max Richter (https://denhaag.com/nl/agenda/max-richter-vivaldi-the-four-seasons) Boek: De Eerlijke Vinder (https://dasmag.nl/product/de-eerlijke-vinder/), Moby Dick (https://www.singeluitgeverijen.nl/athenaeum/boek/moby-dick/), De gebroeders Karamazov (https://athenaeumscheltema.nl/a/fjodor-dostojevski/de-gebroeders-karamazov/100025891) Tentoonstelling: Mark Manders en Christian Marclay in Voorlinden (https://www.voorlinden.nl/tentoonstelling/mark-manders/?gad_source=1&gad_campaignid=22242808302&gbraid=0AAAAADFRm46O2ooU4hYLx0oM4LL6VWY_0&gclid=EAIaIQobChMIoeqNsaXTjwMVYcpEBx2WVTOBEAAYASAAEgKb8PD_BwE), Pakt Amsterdam (https://www.instagram.com/paktamsterdam/) Nu in de bioscoop: Eastern Neighbor Filmfestival, (https://easternneighboursfilmfestival.nl/) Verhullen in Flora (https://moviesthatmatter.nl/agenda/premiere-verhullen-in-flora-filmtheater/) Openbare kunst: Femmy Otten in De Beeldengalerij (https://bkdh.nl/kunstwerken/and-life-is-over-there/), Hemels Gewelf (https://denhaag.com/nl/james-turrell-hemels-gewelf), het Nomadisch Monument (https://www.nrc.nl/nieuws/2025/09/09/kunstenaars-uit-den-haag-turven-iedere-gedode-palestijn-in-gaza-op-nomadisch-monument-elk-streepje-is-een-leven-a4905568) Museum: Whitney Museum (https://whitney.org/) Serie: Twin Peaks (https://www.imdb.com/title/tt0098936/) Club/uitgaansavond: PIP (https://pipdenhaag.nl/) Kindercultuur: Art-S-Cool (https://www.art-s-cool.nl/) Andere tip: NAP+ (https://www.napplus.nl/), kunstenaars initiatief 1646 (https://1646.nl/nl/) Gratis: Het strand Heb je cultuurtips die we niet mogen missen? Mail de redactie: eenuurcultuur@vpro.nl

This week, Sam is back from Iceland, where he read some Scandinavian literature and visited a bookstore, though mostly just looked at volcanoes, waterfalls, and icebergs. But, have no fear, we have plenty of books to talk about this week.  On the agenda this week: - "The Salt Stones," by Helen Whybrow, which is a memoir about leaving publishing to become a shepherdess in Vermont. Sheep! Hannah loves it.  - "Blood Ties," by Jo Nesbo, which is not a Harry Hole novel, but is rather a standalone about brothers who love each other, but also are trying to kill each other. Sam's not sure about the "moral dilemmas" it presents.  - "Kill Your Darlings," by Peter Swanson, which tells the story of a marriage in reverse, starting with a wife who'd really like to kill her husband. But why? Peter's a local and does great work here.  - "Until Alison," by Kate Russo, which is set at Colby College, where Kate went, and deals with a murder of a Colby student, which happened by Kate was at Colby, but is otherwise totally fiction. It's a little cartoonish.  - "Mohawk," by Richard Russo, which is actually more similar than Sam was expecting. It's ALSO a little cartoonish while trying to do "small-town life." Sam doesn't believe it. But lots of stories are more lively than boring real life.  - "All the Beauty in the World," by Patrick Bringley, which is another memoir, but gives you a ton of cool info about working at the Met in New York City and fits nicely in the pantheon of museum guard books. Also, this gets Sam talking about "The Clock," a piece of art by Christian Marclay that is completely amazing and you need to see.

Episode 177 Chapter 36, Modern Turntablism. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 36, Modern Turntablism from my book Electronic and Experimental music.   Playlist: TURNTABLISM   Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Recorded bird sounds is heard at about 36 seconds into this section. This is a 78 RPM recording from 1928 that used a turntable to play the sounds during the performance. 01:44 01:36 2.     Paul Hindemith, “Trickaufnahmen” (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004). 00:58 03:16 3.     John Cage, “Imaginary Landscape No. 1” (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959). 08:37 04:12 4.     Milan Knížák, “Composition No. 1' (1979) from Broken Music. Selection and assemblage of materials made by Walter Marchetti at Harpo's Bazaar, Via San Felice 22, Bologna. 03:26 12:46 5.     Grandmaster Flash And The Furious Five, “The Wheels Of Steel” (1981) from The Wheels of Steel. Medley Compiled by Sylvia Robinson; Produced by, Joey Robinson, Jr., Sylvia Robinson. 07:04 16:10 6.     Christian Marclay, “Smoker,” (1981) from the album Records. Christian Marclay, turntables and processing. Recorded on a cassette deck at home. 03:40 23:12 7.     DJ Shadow ... And The Groove Robbers, “Hindsight,” (1993) from In/Flux/ Hindsight. 06:55 26:56 8.     Afrika Bambaataa, “Looking For The Perfect Beat” (1985) from Looking For The Perfect Beat 1980-1985. 03:51 33:56 9.     Gen Ken Montgomery, “Droneskipclickloop” (excerpt, 1998) from Pondfloorsample. Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. 07:19 37:48 10.   Crawling with Tarts, “Trecher Track”(1999) from Turntable Solos. By Michael Gendreau and Suzanne Dycus-Gendreau. 04:11 45:08 11.   Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. 04:31 49:18 12.   Yasunao Tone, “Part 1” (excerpt 1999) from Solo for Wounded CD. All sounds used were from scratched CD's. 03:54 53:50 13.   Philip Jeck, “Untitled 2,” (2002) from Soaked. Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. 04:30 57:42 14.   Maria Chavez, “Jebus” (2004) from Tour Sampler, recorded in Houston, Texas. Turntables and electronics by Maria Chavez. 04:59 01:02:12 15.   Marina Rosenfeld, “Three” (2005) from Joy of Fear. Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” 05:47 01:07:12 16.   Luc Ferrari and Otomo Yoshihide, Slow Landing” (2008) from ‎Les Archives Sauvées Des Eaux. Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. 10:40 01:12:58   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Nú á föstudaginn gefst áhugasömum kostur á að leggja leið sína í Listasafn Íslands og berja augum verk sem telst meðal merkustu listaverka 21. aldarinnar. The Clock (2010) eftir svissnesk-bandaríska listamanninn Christian Marclay hlaut gullna ljónið á Feneyjatvíæringnum árið 2011 og hefur síðan farið sigurför um heiminn. Vídeóverk Marclays er klippt saman úr mörg þúsund myndbrotum, sem hvert og eitt skírskotar til ákveðinnar tímasetningar og sem í réttri tímaröð spannar heilan sólarhring, mínútu fyrir mínútu. Tvær sólarhringssýningar verða á verkinu og sú fyrri hefst á föstudaginn kl 17. Víðsjá leit við í Listasafni Íslands í morgun og tók þar púlsinn á listamanninum. Við kynnum okkur líka nýlega hljómplötu úr smiðju tónlistarparsins Gyðu Valtýsdóttur og Úlfs Hanssonar, Auga, og rifjum upp hugleiðingu Aðalheiðar Halldórsdóttur um takt í tilefni af alþjóðlegum degi dansins.

“Le monde selon l'IA”au Jeu de Paume, Parisdu 11 avril au 21 septembre 2025Entretien avec Antonio Somaini, professeur de théorie du cinéma, des médias et de la culture visuelle à l'Université Sorbonne Nouvelle et commissaire général de l'exposition,par Anne-Frédérique Fer, à Paris, le 28 avril 2025, durée 16'50,© FranceFineArt.https://francefineart.com/2025/05/10/3616_le-monde-selon-l-ia_jeu-de-paume/Communiqué de presse Commissaire général : Antonio SomainiCommissaires associés : Ada Ackerman, Alexandre Gefen, Pia ViewingLe Jeu de Paume présente, du 11 avril au 21 septembre 2025, une exposition explorant les liens entre intelligence artificielle et l'art contemporain, qui sera la première au monde de cette ampleur.Développées à vitesse accélérée dans tous les champs de la société, les intelligences artificielles suscitent aujourd'hui étonnement, frayeur, enthousiasme ou scepticisme.Le monde selon l'IA présente une sélection d'oeuvres d'artistes qui, au cours de ces dix dernières années, se sont emparés de ces questions en art, photographie, cinéma, sculpture, littérature… Elle d.voile des oeuvres – en grande parties inédites – d'artistes de la scène française et internationale tels Julian Charrière, Grégory Chatonsky, Agnieszka Kurant, Christian Marclay, Trevor Paglen, Hito Steyerl, Sasha Stiles,…De l' “IA analytique”, sur laquelle se fondent les systèmes de vision artificielle et de reconnaissance faciale, . l' “IA générative”, capable de produire de nouvelles images, sons et textes, l'exposition traite de la manière dont ces technologies bouleversent les processus créatifs, redéfinissent les frontières de l'art, sans oublier d'en interroger les enjeux sociaux, politiques et environnementaux. Des capsules temporelles jalonnent par ailleurs le parcours, sous forme de vitrines suggérant des liens historiques et généalogiques entre ces phénomènes contemporains et différents objets issus du passé. Au-delà de toute fascination technophile ou de rejet technophobe, le Jeu de Paume propose, à travers cette exposition, une réflexion sur la manière dont l'IA transforme notre rapport visuel et sensible au monde, comme nos sociétés.L'intelligence artificielle, notion introduite en 1955, désigne de nos jours l'apprentissage automatique qui transforme tous les domaines de la société, avec des applications remplaçant l'action humaine sur la détection, la prise de décision ou la création de contenus textuels et visuels. Ces avancées soul.vent des enjeux éthiques, économiques, politiques et sociaux, entre autres en matière de vie privée et de discrimination, tout en bouleversant notre rapport aux images et aux textes. Dans le domaine artistique, l'IA redéfinit les processus de création, de production et de réception, mettant en crise les notions de créativité, d'originalité et de droits d'auteur. Les artistes de l'exposition mobilisent ces technologies aussi bien pour interroger leurs conséquences sur l'art et la société que pour expérimenter de nouvelles formes possibles d'expression.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

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Die 24-Stunden-Filmcollage „The Clock“ setzt sich in Echtzeit aus tausenden von Filmszenen zusammen, in denen verschiedene Uhren eine Rolle spielen und die Zeit angeben. Ein geniales Filmerlebnis, das 2011 auf der Biennale in Venedig eine Sensation war und jetzt im Stuttgarter Kunstmuseum zu sehen ist.

Sandbox Percussion co-founder, Percussionist, Freelancer and Educator Ian Rosenbaum stops by to talk about the origins of the group, early performances, group management, and dealing with inventory (02:40), how Sandbox develops relationships with composers and their connections to Só Percussion and Third Coast Percussion (22:20), the rehearsal and performance logistics for Sandbox (32:20), Ian and the groups' various college residencies and the importance of their Creator Mentorship program (45:00), growing up in Westchester (NY), beginnings of playing drumset and piano, and attending many types of concerts in his youth (01:09:40), eventually attending Peabody and working with Bob Van Sice (01:18:10), his master's degree time at Yale and getting in the freelance scene in NYC (01:26:20), and finishing with the Random Ass Questions, including segments about performance setup and etiquette, great food, movies and books, and Christian Marclay's The Clock (01:37:35).Finishing with a Rave on the 2025 Grammy Awards ceremony (02:00:00).Ian Rosenbaum links:Sandbox Percussion websiteIan Rosenbaum's websiteSandbox's Creator Mentorship ProgramSeven Pillars - Andy AkihoIan Rosenbaum's Peabody page“Khan Variationa” - Alejandro ViñaoPrevious Podcast Guests mentioned:Victor Caccese in 2019Garrett Arney in 2019Todd Meehan in 2017Cort McClaren in 2022Other Links:Andy AkihoPaola PrestiniChristopher CerroneAdam RosenblattRobert Van Sice“Mallet Quartet” - Steve Reich“Drumming (Part 1)” - Steve Reich“Extremes from Imaginary City” - Jason TreutingSo PercussionThird Coast Percussion“Pattern Transformation” - Lukas Ligeti“NO one to kNOW one” - Andy AkihoViet CuongGreen Umbrella Series“Wilderness” - Jerome BeginDavid YoonGlen VelezJi Su JungPercussion Group CincinnatiBryce DessnerGoldberg Variations - J.S. Bach (Glenn Gould)Colin CurrieJACK QuartetAmandinda Percussion QuartetSimon Boyar“Late in the Evening” - Paul Simon“I Go to Extremes” - Billy JoelBela Fleck and Edgar Meyer Tiny Desk concert311 Tiny Desk Concert“Pretty Fly” - The Offspring“All the Small Things” - Blink-182Ton Freer“Threads” - Paul LanskyCloyd DuffEtuden for Timpani - Richard HochrainerThomas DuffyNew Haven (CT) PizzaThe Princess Bride trailerFast and Furious trailerSilo trailerFormula 1: Drive to Survive trailerJacob Collier - Tiny Desk concert“1612” - VULFPECKVictor Wooten Trio at PASIC 2018“So Much to Say” - Dave Matthews Band (Carter Beauford view)Christian Marclay's The ClockRaves:The 2025 Grammy Awards

Ep. 285: Amy Taubin 2024 Finale: Juror No. 2, Robert Frank, Nosferatu, The Clock, His 3 Daughters, Flow, Conclave Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. For the latest episode, I close out the year with the one and only Amy Taubin, as we catch up with a few movies we missed to talk about in 2024. The discussion includes Juror No. 2 (directed by Clint Eastwood), Nosferatu (Robert Eggers), His Three Daughters (Azazel Jacobs), Conclave (Edward Berger), and Flow (Gints Zilbalodis), plus two exhibitions at the Museum of Modern Art: the Robert Frank exhibitions and Christian Marclay's The Clock. Thanks for listening, and check back in the new year for more new episodes! Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

In this episode of Platemark, I talk with Judith Solodkin, a renowned master printer and founder of SOLO Impression. Judith shares her extensive experience, from being the first woman to graduate from the Tamarind Master Printer program to her unique work in digital embroidery. She reflects on her collaborations with notable artists like Louise Bourgeois and Sonya Clark, and her teaching role at various art institutions. We talk bout Judith's passion for wearable art, specifically her creation of one-of-a-kind hats. Additionally, we discuss the technical and collaborative aspects of printmaking and embroidery, as well as the importance of documenting and preserving artistic processes and works. Cover image: Grace Graupe-Pillard USEFUL LINKS https://www.millinersguild.org/ https://www.soloimpression.com/ @judithsolodkin Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Check out Platemark on Instagram Join our Platemark group on Facebook June Wayne. Near Miss, 1996. Lithograph. 26 x 32 ½ in. Printed and published by SOLO Impression, Bronx. Joyce Kozloff. Now, Voyager I, 2007. Color lithograph with glitter. 31 ½ x 31 ½ in. Printed and published by SOLO Impression, Bronx. James Rosenquist (American, 1933–2017). Paper Clip, 1974. Ten-color lithograph. 36 ½ x 69 in. (92.7 x 175.3 cm.). Published and printed by Petersburg Press. Nancy Spero (American, 1926–2009). Torture in Chile, from the A. I. R. Print Portfolio, 1975. Lithograph. Sheet and image: 22 1⁄4 x 30 in. (56.5 x 76.2 cm.). Smithsonian American Art Museum, Washington, D.C. Dotty Attie. The Forbidden Room, 1998. Lithograph. Sheet: 18 x 24 in. Printed and published by SOLO Impression, Bronx. Howardena Pindell. Peters Squares Waterfall Johnson Vermont, 1986. Color woodcut with collage on various Asian papers. 26 1/2 x 36 in. Printed and published by SOLO Impression, Bronx. Lois Dodd. Mirror, 1975. Stone lithograph. 15 x 18 in. Printed and published by SOLO Impression, Bronx. Alice Neel. Portrait of Judith Solodkin, 1978. Lithograph. 30 x 22 in. Printed and published by SOLO Impression, Bronx. Philip Pearlstein (American, 1924–2022). Iron Bed and Plastic Chair, 1999. Oil on canvas. 59 ½ x 39 1/2 in. Judith Solodkin hats at Winterthur Museum, Garden & Library, Winterthur, DE. Judith Solodkin in one of her own creations. Louise Bourgeois (American, born France, 1911–2010). The Song of the Blacks and the Blues, 1996. Lithograph and woodcut with hand additions. Sheet: 21 ¾ x 96 in (55.3 x 243.8 cm.). Printed and published by SOLO Impression. Museum of Modern Art, NY. Louise Bourgeois (American, born France, 1911–2010). Ode à l'Oubli, 2004. Fabric illustrated book with 35 compositions: 30 fabric collages and 5 lithographs (including cover). Overall: 10 5/8 x 13 3/8 x 3 3/16 in. (27 x 34 x 8.2 cm.). Printed by SOLO Impression, published by Peter Blum Edition. Museum of Modern Art, NY. Elaine Reichek (American, born 1943). Collections for Collectors: 2006 Spring, 2006. Portfolio of 17 digital embroideries on linen. Each: 15 ½ x 12 ½ in. (39.4 x 31.8 cm.). Printed and published by SOLO Impression. Ghada Amer and Reza Farkondeh. The Perfumed Garden, 2006. Lithograph with digitized sewing. 20 ½ x 24 in. Printed and published by SOLO Impression, Bronx. Allan McCollum. The Shapes Project: Threaded Shapes Coll No.21–2883, 2005/2009–10. 144 framed ovals with digitized embroidered shapes on cotton fabric (each shape is unique). Each frame: 11 1/4 x 9 1/4 in. Fabricated by Judith Solodkin, Theodore Yemc, and Rodney Doyle; published by SOLO Impression, Bronx. Kent Henricksen (American, born 1974). White Ghost, Black Ghost, 2012. Two digital embroideries. Each: 8 ½ x 5 in. (21.6 x 12.7 cm.). Printed and published by SOLO Impression. Sonya Clark. The Huest Eye, 2023–24. Embroidered thread on Rives BFK paper. 36 x 24 in. Printed by SOLO Impression, Bronx; published by Goya Contemporary/Goya-Girl Press, Baltimore. Liliana Porter. Red Girl, 2006. Digital embroidery and thread on paper. 22 x 17 ½  in. Printed and published by SOLO Impression, Bronx. Howard Hodgkin (British, 1932–2017). Moonlight, 1980. Lithograph on two sheets. 44 x 55 ¼ in. (111.8 x 140.3 cm). Printed by SOLO Impression, published by Bernard Jacobson Ltd. National Gallery of Australia, Canberra. Michael Mazur. Wakeby Night, 1986. Lithograph with chine collé, woodcut, and monoprint. 66 x 30 in. Printed and published by SOLO Impression, Bronx. Françoise Gilot (French, 1921–2023). Music in Senegal, 2017. Color lithograph. 18 x 24 in. Printed and published by SOLO Impression. Robert Kushner (American, born 1949). Nocturne, 1988. Color lithograph. 25 x 37 in. Printed and published by SOLO Impression. Joe Zucker (American, born 1941–2024). The Awful Heat Wastes Man and Beast No. 4, 1985. Lithograph, silver foil, and varnish. 36 x 48 in. Printed and published by SOLO Impression. Christian Marclay. Untitled, 1991. Unique surface print. 39 x 39 in. Printed and published by SOLO Impression, Bronx. John Hejduk. The Flight, from the series Zenobia, 1990. Lithograph. 25 x 17 in. Printed and published by SOLO Impression, Bronx. John Torreano. Emerald, from the series Oxygems, 1989. Color woodcut with embossing. 30 x 36 in. Printed and published by SOLO Impression, Bronx. Judy Chicago (American, born 1939). What if Women Ruled The World?, 2022. Inket print on fabric with digital embroidery. 33 1/2 × 24 in. (85.1 × 61 cm.). Printed and published by SOLO Impression. Betye Saar. Blow Top Blues, The Fire Next Time, 1998. Color lithograph, hand coloring, photo electric collage. 27 x 22½ in. Printed and published by SOLO Impression, Bronx. Beryl Korot. Weaver's Notation – Variation 1,2013. Embroidery and inkjet print. 21 ¼ x 21 ¼ in. Printed and published by SOLO Impression, Bronx. Artist Ivan Forde in his photo-sensitive paper jacket and Powerhouse Arts Printshop director Luther Davis at IFPDA Print Fair, October 2023. Louise Bourgeois (American, born France, 1911–2010). Henriette, 1998. Lithograph and digital print. Sheet: 45½ x 31½ in. Printed and published by SOLO Impression. Museum of Modern Art, NY.    

(00:00:43) Er nimmt Aufnahmen aus Fotoautomaten, zerschneidet sie und gestaltet daraus eigene Kunstwerke: Christian Marclay. Nun hat er zusammengearbeitet mit Schweizer Kunststudierenden. Gemeinsam bestreiten sie eine Ausstellung im Lausanner Photo Elysée. (00:04:49) Was, wenn alle Frauen streiken? Dieses Szenario spielt der Roman «Alles so still» von Mareike Fallwickl durch. (00:09:07) Geburtstagstorte für Henry Mancini, den Komponisten von Pink Panther. (00:13:19) Der bhutanische Film «The Monk and the Gun» dürfte ein erneuter Erfolg werden.  (00:17:39) Digitaler Raub: Das Klagelied der Buch-, Zeitschriften- und Zeitungsverlage in Italien.

Who smoked more: academics like John Cage, La Monte Young and Vladamir Ussachevsky- or the underground scenesters, like Glenn Branca, Arthur Russel and Laurie Anderson? Why is turntablist Christian Marclay on the cover of "Transfigured New York," but not in the book, even though she interviewed him multiple times? Could AI design be to blame? How did the old guard of "New Music" feel about the commodification of computer-based music production four decades ago? In the 1980s, Brooke Wentz hosted a radio show in the middle of the night that focused on experimental music, which was developing all around her in New York City. Over the course of a decade, many of the artists Brooke played on that show would join her in the studio. Her journalism days are through, (now she works on the business side of the industry) but she has just released a book with selected interviews back in the day called “Transfigured New York: Interviews with Experimental Artists and Musicians," available now from Columbia University Press. This may be a bit of a shock to you, but I'll say it- I'm a big fan of oral history interviews, and I'm a big fan of experimental music. I'm pleased to feature Brooke and her work here today, which includes a couple of clips from her interviews (with Morton Subotnik and John Lurie, respectively). She joins me today from a working holiday somewhere in Mexico. The artwork for this episode is a drawing by my kid Camille, based on a photo from "back when" sent to me by today's guest. Terrific. Many thanks. Low Profile is stoked to be a part of the Ruinous Media network. This show is also supported directly by you on Patreon ( patreon.com/lowprofile ) Low Profile also receives in-kind support from these independent Olympia businesses: Schwart'z Deli, San Francisco Street Bakery, Old School Pizzeria, Rainy Day Records and Scherler Easy Premium Shitty American Lager from Three Magnets Brewing Company. More on the book: http://cup.columbia.edu/book/transfigured-new-york/9780231558631 Instagram: Brooke @seven_seas_music and Markly @lowpropodcast Facebook Community: Low Profile Listener Hub Patreon (donation-based bonus content+goods): patreon.com/lowprofile

durée : 00:37:46 - Affaires culturelles - Musicien, compositeur et plasticien, l'artiste suisse ne cesse d'inventer de nouvelles pratiques, que ce soit avec des platines vinyles, des montages d'extraits de films ou avec Snapchat. Rencontre avec un artiste qui réenchante le monde, à l'occasion de son exposition au Centre Pompidou.

“Je suis un artiste. Je préfère ce terme à celui de compositeur, musicien ou platiniste. Je fais plein de choses, de la vidéo, de la sculpture, de la photographie et ça m'arrive de faire de la musique aussi. Je dirais que mon travail se situe entre la musique et les arts visuels.”Artiste, Christian Marclay compose avec les images, dévoile leur potentiel sonore. Inventeur de nouveaux instruments, comme la “Phonoguitar”, une platine vinyle portée telle une guitare, le créateur américano-suisse fera pendant longtemps du vinyle l'une des matières premières de ses œuvres en en cousant les pochettes dans ses “Body mix” ou en recréant des pièces inédites avec ses “Recycled Records”.Il échantillonne, coupe, monte, des sons ou des mots, mais aussi des vidéos dans lesquelles les portes s'ouvrent, se ferment, ou interrogent notre rapport au temps. Avec “The Clock”, il obtient le Lion d'or du meilleur artiste lors de la 54e Biennale de Venise. Une variété que l'on peut découvrir jusqu'au 27 février au Centre Pompidou à Paris, et une occasion pour nous de rencontrer cet artiste dont l'œuvre s'écoute autant qu'elle se regarde. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:56:11 - Côté Club - par : Laurent Goumarre - Côté Club, le rendez-vous de toute la scène française et plus si affinités reçoit Tim Dup, Mika, Eric Barbier et Christian Marclay pour son exposition au Centre Pompidou. Bienvenue au Club !

Det är tio år sedan författaren Masha Gessen kom ut med sin bok "Mannen utan ansikte", om Putin. Efter krigsutbrottet har hen rapporterat från Ryssland och Ukraina. Hör Fredrik Wadströms intervju . EVOLUTIONEN ENLIGT SARA GRANÉRSerieskaparen Sara Granér har i sin bok "Den sjunde vännen" skapat en alldeles egen evolutionshistoria. Från tiden före språket, via kollapsade civilisationer och Kains bibliska brodermord av Abel, fram till vår tid och citatet: "Varför går inte fossilkapitalet och lägger sig?". Du möter henne i dagens P1 Kultur.FINNS DET EN FRAMTID FÖR AVATARER OCH 3D-GLASÖGON?Det är tretton år sedan den första Avatar-filmen kom, men nu är uppföljaren här: "Avatar 2: The way of water", som har biopremiär idag. Vår reporter Nina Asarnoj har sett filmen, och pratat ihop sig med filmkritikern Maria Brander om upplevelsen och vad den nya Avatar-filmen säger om framtiden för 3D.KONSTNÄREN CHRISTIAN MARCLAY RÖR SIG FRITTKonstnären Christian Marclay skapar egensinniga uttryck i ljud och bild - han jobbar med vinyler och skivspelare, foto, video och film. Vår konstkritiker Cecilia Blomberg har sett hans utställning på Centre Pompidou i Paris. Där visas lekfulla uppiggande verk ur hela Christian Marclays karriär."DET GÅR ATT TÄNKA MOT STRÖMMEN"Religionsfilosofen Jacob Taubes läsning och tolkning av "Paulus brev till romarna" pekar på en linje mellan Bibelns text och 1900-talets antikoloniala rörelser. Det menar författaren Mattias Hagberg i dagens OBS-essä.Programledare: Lisa Bergström Producent: Anna Tullberg

“Christian Marclay“au Centre Pompidou, Parisdu 16 novembre 2022 au 27 février 2023Interview de Jean-Pierre Criqui, conservateur, service des collections contemporaines, Musée national d'art moderne, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 14 novembre 2022, durée 20'19.© FranceFineArt.https://francefineart.com/2022/11/18/3349_christian-marclay_centre-pompidou/Communiqué de presseCommissariat : Jean-Pierre Criqui, conservateur, service des collections contemporaines, Musée national d'art moderneCommissaire adjointe : Annalisa Rimmaudo, attachée de conservation service des collections contemporaines, Musée national d'art modernePremière exposition en France du travail de Christian Marclay depuis 2007, cet événement est pensé selon un réseau d'affinités et d'échos déployant la logique de l'artiste, qui mêle détournements et métamorphoses.Né en 1955 à San Rafael (Californie), de nationalités suisse et américaine, Christian Marclay est un artiste multimédia dont l'oeuvre s'ancre dans l'univers du son, qu'il explore dès la fin des années 1970 en collaborant à de nombreux projets musicaux à l'occasion desquels il fit du microsillon vinyle et de la platine tourne-disque ses instruments de prédilection.Christian Marclay, qui compte parmi les tout premiers pionniers du scratching, s'est illustré depuis ses débuts par de nombreux enregistrements avec des musiciens d'horizons divers et par des concerts/performances dans le monde entier.Placée sous le signe du collage et du montage, son oeuvre s'est étendue avec le temps à tous les registres des arts visuels : assemblages d'objets, installations, photographies, estampes, peintures, vidéo, en un ensemble ouvert où s'impose la dimension auditive, qu'elle soit littérale ou silencieusement évoquée.Artiste par excellence de la reproduction et de sa dispersion, Christian Marclay nous confronte, sur un mode ludique, aux paradoxes de la différence et de la répétition. Puisant abondamment dans le répertoire visuel et sonore de la culture dite populaire, il agence un monde où se reconfigurent les motifs du quotidien postmoderne. Son oeuvre, héritière de John Cage et d'Andy Warhol, mais aussi des bandes dessinées et de l'esthétique punk, livre la version la plus aiguë, la plus stimulante, de ce qu'est aujourd'hui l'esprit pop.L'exposition présente, distribuées en archipel, la plupart des grandes installations de l'artiste : Surround Sounds (2014-2015), plongée tourbillonnante au sein des onomatopées des comics et des mangas, Subtitled (2019), qui combine silencieusement un feuilleté de sous-titres en provenance de multiples films, All Together (2018), réalisé à partir de Snapchat et présenté sur des smartphones. Mais aussi ces classiques que sont désormais Guitar Drag (2000), où violence et destruction se teintent d'un commentaire politique, et Video Quartet (2002), hommage, en quatre projections simultanées, à la musique, au cinéma.Par ailleurs, une toute nouvelle installation vidéo, Doors (2022), sera présentée pour la première fois dans le parcours. Photographies de tout format, assemblages de pochettes de disque, instruments de musique modifiés, impressions, collages et peintures assureront le tissu conjonctif de ce dispositif choral, polymorphe et inédit.Catalogue de l'exposition : Christian Marclay, sous la direction de Jean-Pierre Criqui aux Éditions du Centre Pompidou. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Dans ce podcast, Jean-Pierre Criqui, le commissaire de l'exposition « Christian Marclay », nous présente plusieurs œuvres du parcours. Accompagnés d'extraits sonores d'œuvres de Marclay, ses commentaires nous font entrer dans l'univers de l'artiste, à la frontière des arts visuels et de la musique.Avec la participation de Jean-Pierre CriquiRéalisation : Célia CretienEnregistrement : Ivan Gariel Montage et mixage : Maxime Champesme Habillage sonore : Sixième SonExtraits musicaux : Christian Marclay, Pandora's box, Recycled Records et phonoguitar ; The Beatles, Revolution 9 et Carry that weight ; Sylvie Courvoisier et Mark Feldman, Shuffle ; ensemble Musiques Nouvelles, Ephemera ; Joan La Barbara, Manga Scroll Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this podcast, Jean-Pierre Criqui, curator of the exhibition “Christian Marclay”, talks about several works of the tour. Along with some sound excerpts from Marclay's works, his comments introduce us to the artist's universe, at the frontier between visual arts and music. With the participation of Jean-Pierre CriquiProduction: Célia CretienSound recording: Ivan Gariel Editing and mixing: Maxime Champesme Sound design: Sixième SonMusical excerpts: Christian Marclay, Pandora's box, Recycled Records and phonoguitar ; The Beatles, Revolution 9 and Carry that weight ; Sylvie Courvoisier and Mark Feldman, Shuffle ; ensemble Musiques Nouvelles, Ephemera ; Joan La Barbara, Manga Scroll Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In part 2 with ArtNet News critic Ben Davis, we talk about: environmentalism and our approach to the climate, as well his emphasis on finding a good middle ground between overly dire and overly sugar-coated perspectives on the conversation; Christian Marclay's video works “Telephone” – which Apple co-opted, making their own version when Marclay wouldn't sell it to them – and “The Clock,” which Ben considers to be Marclay's response to Apple and its iPhone, and images' ‘place-lessness' (which “The Clock” returns to us); how he frames the immersive art trend as a question of ‘what's at stake here?,' and how there are many trends that he feels needs to be seen from both sides; Alfredo Jaar's immersive video in the most recent Whitney Biennial, prompted by the very short time window artists now have to gain viewers' attention; the case of the lovably ordinary @world_record_egg, an Instagram feed that both parodied and addressed concerns about the effects of social media on our individual psyches as an artistic provocation; and Ben's own tricky relationship with social media (IG).

A one-off experience visits Birmingham's Electric Cinema: The Afterlight, an 82-minute collage assembled from footage in which every person in frame is now dead. Director Charlie Shackleton accompanies the film on its tour, not only to give post-screening Q&A sessions, but also because he is in possession of the only copy of the film in existence - a single 35mm print that gradually degrades with each successive screening, picking up scratches and other wear and tear, and when it's finally too damaged to watch any longer, it's gone for good. It's a compelling idea, invoking questions of film preservation, the ways in which film captures and preserves moments in time, and the peculiar cinematic magic (and particularly magic of celluloid) that brings ghosts to life through illumination. And Shackleton is a charming, intelligent and witty speaker, the best advertisement for his own film, although his style and confidence activate José's cynicism circuits - do we really believe that he hasn't kept a copy of the film for himself? But as for the film? It's an enjoyable experience, the footage assembled into a rough narrative of sorts that takes us through similar actions and settings seen across countless cinematic sources, and both the choices of source material and the editing's sense of rhythm create an appealing mood throughout, but much of the specific choices feel too vaguely motivated. Why has this shot in particular been included? Why the focus on one setting or action instead of some other? These questions are never satisfactorily answered, and the film meanders with too little intention. One point of comparison in particular comes up in our discussion: The Clock, Christian Marclay's 24-hour installation film that we saw large segments of both together and separately when it visited the Tate Modern three years ago. It's similarly constructed of clips from films, its rubric to find shots that show clocks and other timepieces so that the film itself can function as a clock. We think about the difference in how often Shackleton and Marclay take creative liberties with their source material and build something new and expressive with it, and the different ranges of that source material to begin with (one of our biggest criticisms of The Clock being the unimaginative Anglo-American cinephile context from which most, if not all, of its sources came). Criticisms notwithstanding, The Afterlight is an interesting and enjoyable one-off experience that literally - and we do mean literally - has to be seen in person, and if it screens near you it's worth the evening. It won't look as good as it did for us, admittedly, but at least it'll look even worse for the next audience. Recorded on 7th July 2022.

Alan Licht is a writer, musician, and curator based in NYC. He is known for his solo guitar work and long-time collaboration with guitarist Loren Connors and rock bands Run On and Love Child and the experimental group Text of Light. He is also the author of several books, including his new book Common Tones: Selected interviews with artists and musicians from 1995-2020. In this in-depth and wide-ranging conversation, we talk about his interview with Lou Reed, the new Velvet Underground documentary by Todd Haynes, Alan's work at the seminal NYC venue Tonic, his collaboration with Loren Connors, and his interviews with Christian Marclay, Michael Snow, Milford Graves, and the late writer/musician Greg Tate., who passed away the day after our conversation.

“The process of editing is what I enjoy most - putting the pieces together and making sense out of them.” -Christian Marclay. Let's write a book together! Let's document this chapter in history. Let's do some good. Listen to episode #853 (and subsequent Monday episodes) for more details. Today - Pandemic Stories assignment #15 - structuring your short story. Join the author conversation: https://www.facebook.com/groups/inkauthors/ Learn more about YDWH and catch up on old episodes: www.yourdailywritinghabit.com

My practice varies from project-to-project, and is sometimes collaboration-based and at other times the result of my personal art making practices in diverse media, including site-specific installations, sculptures, performances, works on paper, films and audio pieces. My work has been exhibited at galleries in New York and elsewhere, including David Zwirner Gallery, Postmasters, Ronald Feldman Gallery, Xavier Hufkens (Brussels), Studio 10, and Pierogi 2000. In 1999 and 2000, a grant from Phillip Morris Foundation in conjunction with the Künstlerhaus Bethanien, Berlin allowed me to live and create work in Berlin. I had a major exhibit at the Brooklyn Museum in 2013, as part of its Raw/ Cooked series. It featured multi-media installations in several parts of the museum, and a film program. In addition, I have done many projects abroad, including shows/installations/projects in Germany, Scandinavia and Ramallah. 1990 till 2000, I hosted and co-directed the Four Walls art space in Williamsburg, Brooklyn, a project space whose function was something between a clubhouse and laboratory. It was a place where exhibitions, panel discussions, performances and projects took place, creating a nexus of cultural exchange for artists. In 1989, I received a National Endowment for the Arts grant which became seed money for the Four Walls project. My intent was to create a condition for the exchange of ideas. From1993 to 2011, I directed, curated and organized The Slide and Film Club. I invited artists—and non-artists— to show Super8 films , 35mm slideshows and videos. A house band played improvised music to programs that lacked soundtracks, should someone request it. The project brought together hundreds of visual artists, writers and musicians such as Brian Dewan, Christian Marclay, Joy Garnett, Jim Torok and Carla Pearlman among others. It fostered the work of many artists, as well as my own Super 8 film work. My studio practice over the past five years has primarily been object based. I have often relied on processes based on coincidence, or cues that I receive from my life in order to generate works which perform a useful function, or at least an approximation of one. For example, “Weathervane” at Pierogi Gallery in 1997, fulfilled its metrological role, as well as a quasi-metaphorical one: it took the form of an abstracted Pinocchio head. “Moo-Moo” (2010), was a giant, sculptural cow head on the roof of the Brooklyn restaurant, Diner. It was a portrait of one of the locally-sourced animals being served. “Billboard” in Hudson, New York played with the nature of what billboards are, using them to present subtly disorienting landscape images in unlikely places. Since March of 2020, the world, and certainly my world, has been circumscribed by COVID, making it more difficult to present art in the usual ways. One piece I did in early 2021 was a guerrilla installation in a local park. In the tangle of branches of bushes and trees near the entrance of Cooper Park, one might find two blue rope-like sculptural forms weaving around the forms of the trees. Those pieces are called “Jay” and “Pea” and, in addition to bringing visual play to the local park, they commemorate my friend, the artist Joyce Pensato, who passed away the year before. It was the park she used to frequent with her dog. Another recent project had a commemorative aspect, this year's “Word of Bird is Cured” shown at Studio 10, Bushwick. My friend, the artist and writer Matt Friedman had passed away after a long illness. My piece covered the windows of the gallery with blue paper, with thousands of silhouettes of birds cut into the paper by hand. The gallery faced west, and as days grew long, projections of the birds flooded the room. In the room I created a series of cellophane bags, based on the forms of boulders. The bags were inflated by fans from below, precariously erect and quick to wither when the fans were turned off.

Lisa Spellman first arrived in New York to study art at SVA, moving into a loft that seemed pre-destined to be a gallery. Kim Gordon was reading about the art happening in New York while she was in LA, but when she got to the East Coast, ended up playing music. A few years later, Spellman founded 303 Gallery and Gordon was writing and playing with iconic band Sonic Youth. The two talk to Marc Spiegler about New York City in the 1980s and 1980s, the art scene and the music scene, the places they all went, and how it all intersected. It's an image of an old New York that still reverberates in the city today. For further reading:-Andy Warhol's Factory:https://www.artlife.com/inside-the-factory-the-studio-where-andy-warhol-worked/ https://www.nytimes.com/2018/11/12/style/andy-warhol-factory-history.html -Cady Noland:https://www.guggenheim.org/artwork/artist/cady-noland-Christian Marclay:https://whitecube.com/artists/artist/christian_marclay -Dan Graham:https://www.crash.fr/a-meeting-with-dan-graham/ -Jim Jarmusch:https://www.sensesofcinema.com/2003/great-directors/jarmusch/-Johnny Thunders (New York Dolls, Heartbreakers)https://www.loudersound.com/features/so-alone-the-johnny-thunders-story (long in-depth profile on Johnny Thunders' life featured in Louder Sound, a UK rock magazine published by Future)-Judson Dance Church:http://judsonclassic.org/Dance -Kim Gordon's Design Office:https://www.303gallery.com/public-exhibitions/design-office-with-kim-gordon-since-1980/press-release-Richard Prince:https://gagosian.com/artists/richard-prince/ -Rodney Graham:https://www.lissongallery.com/artists/rodney-graham -White Columns:https://www.nytimes.com/2021/06/10/arts/design/anniversary-white-columns-gallery-.html

Retour sur l'oeuvre audio-visuelle The Clock, de l'artiste Christian Marclay.

Shelley Hirsch: Primal Impulses Equal parts composer, vocalist, and storyteller Shelley Hirsch is universally admired for an astounding gift firing off free association between words and sounds, which is our focus in this edition. Here with collaborators keyboardist/arranger Simon Ho, turntablist Christian Marclay, guitarist Kazuhisa Uchihashi, pipa master Min Xiao Fen, electronic percussionists Ikue Mori & Samm Bennett, cellist Okkyung Lee, keyboardist David Weinstein, and Horst Rickels' Mercurius Wagen https://roulette.org/

Equal parts composer, vocalist, and storyteller Shelley Hirsch is universally admired for an astounding gift firing off free association between words and sounds, which is our focus in this edition. Here with collaborators keyboardist/arranger Simon Ho, turntablist Christian Marclay, guitarist Kazuhisa Uchihashi, pipa master Min Xiao Fen, electronic percussionists Ikue Mori & Samm Bennett, cellist Okkyung Lee, keyboardist David Weinstein, and Horst Rickels' Mercurius Wagen.

Concludiamo la nostra retrospettiva su David Moss nel catalogo Intakt con gli altri tre album del batterista/vocalist pubblicati dall'etichetta svizzera. Nell'85 Moss forma la David Moss Dense Band, che - con partecipazioni di una sfilza di personaggi come John Zorn, Fred Frith, Arto Lindsay, Bill Laswell, Bill Frisell, Christian Marclay - diventa una delle cose emblematiche dell'avantgarde newyorkese degli anni ottanta: una incarnazione in quartetto della Dense Band, con Anthony Coleman alle tastiere, si ascolta in Texture Time, registrato nel '93 e pubblicato nel '94 (Intakt 034), che contiene fra l'altro un brano ispirato da italo Calvino, Invisible Cities. Time Stories, registrato nel '97 e pubblicato nel '98 (Intakt 054), consiste in una serie di duo di Moss (voce, batteria, percussioni, elettronica) con Heiner Goebbels (siamo nella fase in cui Moss collabora come vocalist con Goebbels per Surrogate Cities: proprio ascoltandolo cantare in quest'opera, Luciano Berio rimane colpito dal suo talento e lo chiama a partecipare alla sua opera Cronaca del luogo), Catherine Jauniaux, Hans Peter Kuhn, Koichi Makigami, Christian Marclay, Phil Minton e Frank Schulte. Con quattro di loro - Jauniaux, Minton, Makigami e Schulte - nel '97 Moss si esibisce a Zurigo, in un set documentato da Vocal Village Project Live at the Rote Fabrik, pubblicato nel 2001 (Intakt 068).

Concludiamo la nostra retrospettiva su David Moss nel catalogo Intakt con gli altri tre album del batterista/vocalist pubblicati dall'etichetta svizzera. Nell'85 Moss forma la David Moss Dense Band, che - con partecipazioni di una sfilza di personaggi come John Zorn, Fred Frith, Arto Lindsay, Bill Laswell, Bill Frisell, Christian Marclay - diventa una delle cose emblematiche dell'avantgarde newyorkese degli anni ottanta: una incarnazione in quartetto della Dense Band, con Anthony Coleman alle tastiere, si ascolta in Texture Time, registrato nel '93 e pubblicato nel '94 (Intakt 034), che contiene fra l'altro un brano ispirato da italo Calvino, Invisible Cities. Time Stories, registrato nel '97 e pubblicato nel '98 (Intakt 054), consiste in una serie di duo di Moss (voce, batteria, percussioni, elettronica) con Heiner Goebbels (siamo nella fase in cui Moss collabora come vocalist con Goebbels per Surrogate Cities: proprio ascoltandolo cantare in quest'opera, Luciano Berio rimane colpito dal suo talento e lo chiama a partecipare alla sua opera Cronaca del luogo), Catherine Jauniaux, Hans Peter Kuhn, Koichi Makigami, Christian Marclay, Phil Minton e Frank Schulte. Con quattro di loro - Jauniaux, Minton, Makigami e Schulte - nel '97 Moss si esibisce a Zurigo, in un set documentato da Vocal Village Project Live at the Rote Fabrik, pubblicato nel 2001 (Intakt 068).

L'artiste Christian Marclay a carte blanche pour animer le nouveau musée réunissant Le Mudac et le Musée de l'Elysée à Plateforme 10 lors de la remise des clés en novembre prochain. Entretien par Florence Grivel.

A lovely opening gambit about the difference between competence and skill turns Lee and Simon's pre-show natter into the show itself. Get in touch with Lee and Simon at info@midlifing.net.Just three related links:Christian Marclay's The Clock: https://en.wikipedia.org/wiki/The_Clock_(2010_film)Surgeon Simon Bramhall signing his initials on livers: https://www.theguardian.com/uk-news/2017/dec/13/surgeon-admits-marking-his-initials-on-the-livers-of-two-patientsDigital poverty: https://www.digitalpoverty.co.uk---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)Get in touch with Lee and Simon at info@midlifing.net. ---The Midlifing logo is adapted from an original image by H.L.I.T: https://www.flickr.com/photos/29311691@N05/8571921679 (CC BY 2.0)

Our season break hiatus came a little early and has lasted quite a while. But Luke returns with friend and guest Harry in Dionne’s stead, for an anniversary celebration of Mark Cousins’ documentary series on cinema history; The Story of Film. Harry is relatively new to considering the wide world of cinema as art and upon recommendation has been watching Cousins’ documentary series as a “way in” to understanding the history of cinema and important milestones and key figures. Enthusiasm proved infectious and Luke decided to rewatch alongside Harry to discuss viewing choices and insights from the series. Join us for a spirited talk about film through fresh eyes, in a wide-ranging discussion featuring an eclectic assortment of titles. We discuss an Iranian documentary short about a village where those suffering leprosy live, in Forough Farrohkhzad's The House is Black (Khaneh siah ast). The intense emotion laid bare in close-up in Carl Theodor Dreyer's The Passion of Joan of Arc. Harry espouses a newfound love for Agnès Varda's work with the discovery of her intimate portrait of Rue Daguerre shop owners in Daguerréotypes. Luke closes out the episode with a couple of recommendations. The rhythms of life, as seen on screen in a 24-hour period assembled from cinema, in Christian Marclay's video art installation piece The Clock. Finally, delving into the nature of self identity in Derek DelGaudio's filmed hybrid magic act meets performance and spoken word stage show; In & Of Itself. Titles this episode: The House is Black (1963) (14:30) [ DVD ] The Passion of Joan of Arc (1928) (34:25) [ Amazon Digital | HBO Max | Criterion Collection Disc | Criterion Channel | Kanopy ] Daguerréotypes (1976) (1:01:15) [ Criterion Collection Disc | Amazon Digital | Criterion Channel | Mubi | Fandor ] The Clock (2010) (1:18:45) [ Not currently in exhibition ] In & Of Itself (2020) (1:27:40) [ Hulu ] Other Links & Mentions: Harry mentioned this one when we discussed the Criterion Collection. Please do check out his reviews! DaisukeBeppu's Youtube Channel Follow Us: You can find us online via DIY Film School: Facebook Instagram Twitter Our Website (under construction) Subscribe on Apple Podcasts Harry will return for another chat or two further along his journey. Though we just might have another unconventional episode in store for you next week…

Esther Bourdages is an art critic, radio journalist, independent curator, and musician based in Montréal. She is an improviser of extraordinary sensitivity, bringing a playfulness to her tactile manipulation of vinyl records, sometimes outright mishandling them. This freedom to destroy is indicative of a resistance to structure and formalism, but Esther’s work can’t be easily dismissed as some sort of exercise in catharsis. Instead her approach to live improvisation is raw and expressive, and cultivated over decades of ongoing exploration. Much of her recent studio work is for radiophonic diffusion, often based on field-recordings and with a politicized context. We discuss her unique approach to vinyl, the history of Canadian artist-run centres, and the intersection of art and sound from multiple perspectives. Interview recorded in Montreal, October 2020 Produced and mixed in Montreal, January 2021 Read more at: http://acloserlisten.com/2021/01/21/sp-episode-16-freedom-to-destroy-with-esther-b-podcast/ TRACKLIST ARTIST – “TITLE” (ALBUM, LABEL, YEAR) Esther B. –Think about the rhythm (Audio Postcard, 2020) Esther B. - excerpt a (live at Spiro Space, 2019) Esther B. / Erik Hove / Thom Gossage - The Space between - 01 Exclusive piece_no1!(Particles, Contour Editions, 2021) [the user] (Emmanuel Madan and Thomas MacIntosh) - “Silo # 5” (Silophone, The Kitchen, 2001) Esther B. - excerpt b (live at Spiro Space, 2019) Luigi Turra / France Jobin – “France Jobin Variation” (Fukinsei VARIATIONS, 2020) Togetherness! – “Salaam/Looking for Gilchrist (Abdullah Ibrahim / William Parker)” (Togetherness!, Mr. E Records, 2018) Martin Tétreault ‎– “Abandon” (La Nuit Où J'Ai Dit Non, Audioview, 1997) Christian Marclay & Okkyung Lee – “Rubbings” (From The Earth To The Spheres Vol. 7, Opax, 2005) Esther B.- Silence film : quand l’audience devient la trame sonore 2016 Anne-F Jacques / Tim Olive – “Sur Place/Staying” (AMPLIFY 2020) Joane Hétu / Diane Labrosse / Zeena Parkins / Danielle P. Roger* / Tenko ‎– “Les Pluies Acides” (La Légende De La Pluie, Ambiances Magnétiques, 1992) Esther B. (with Jon Ascencio, Aimé Dontigny, Édouard Jeunet, James Schidlowsky, David Turgeon) – “Untitled 4” (It is not easy for doug engelbart to give a conference when Youppi and Mad Dog are in the house, No Type/Bricolodge, 2004) Jean Tinguely – “Homage to New York (Radio sculpture) / Sculpture at the Tate 12 / Mta harmonie II” (Sculpture at the Tate, Audio Arts, 1982) Esther B. - excerpt c (live at Spiro Space, 2019) Maria Chavez – “The Rain of Applause” (Amplify 2020) Cover image: Jean Tinguely

Episode 19   Maximum Turntablism, Part 2   Modern Experimental Turntablism and CD Glitch Music   Playlist: Pierre Henry, Concerto Des Ambiguïtés parts 1,2,3,and 5(1950) from Symphonie Pour Un Homme Seul / Concerto Des Ambiguïtés (1972, Philips). Premiered on August 7, 1950. Christian Marclay, “Smoker,” (1981) from the album Records (1997). Christian Marclay, turntables and processing. Recorded on a cassette deck at home. DJ Shadow ... And The Groove Robbers, “Hindsight,” from In/Flux/ Hindsight (1993) Institut Fuer Feinmotorik, “A1” from Wenig Information: Kein Titel (1998). Recorded live between April and June 1998 in Cloister Bad Säckingen, Germany. For turntables, mixer, compressor, various processed records, paper, cardboard, scotch tape, household rubber, wire, various other odds and ends. Peter Cusack & Nicolas Collins, “Hazlitt” from ‎ A Host, Of Golden Daffodils (1999). Recorded live in concert at STEIM (Amsterdam, The Netherlands) June 1996 and at Museum für Gegenwart, Hamburger Bahnhof, (Berlin, Germany), November 1996. Electronic processes, CD, radio sources, trombone-propelled electronics, Nicolas Collins; guitar, bouzouki, whistling, electronics, sampler triggers, Peter Cusack. Gen Ken Montgomery, “Droneskipclickloop”(excerpt, 1998) from Pondfloorsample (2002). Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. Crawling with Tarts, “Trecher Track” from Turntable Solos (1999). By Michael Gendreau and Suzanne Dycus-Gendreau. Yasunao Tone, “Part 1”(excerpt 1999) from Solo for Wounded CD (1999). All sounds used were from scratched CD's. Philip Jeck, “Untitled 2,” from Soaked (2002). Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. Maria Chavez, “Jebus” from Tour Sampler (2004), recorded in Houston, Texas. Turntables and electronics by Maria Chavez. Marina Rosenfeld, “Three” from Joy of Fear (2005). Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” Luc Ferrari and Otomo Yoshihide, Slow Landing” from ‎Les Archives Sauvées Des Eaux (2008). Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. The Archive Mix in which I play two additional tracks at the same time to see what happens. Here are two more tracks of modern experimental turntablism: Tsunoda Tsuguto, “Air Pocket” (1997) from Turntable Solos (1999). Merzbow, “Batztoutai—The Nightengale's Song” (1985) from Turntable Solos (1999). The incidental music heard while I'm speaking is from a damaged and skipping CD that I have of Sun Ra. The track is “Sound Spectra/ Spec Sket” from the album Other Planes of There (1964). For more information about the history of turntablism, read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020). Notes for this episode can be found on my blog: Noise and Notations.

Hannah Kendall is a composer whose work has been described as ‘…intricately and skillfully wrought’ by The Sunday Times. Her music has attracted the attentions of the London Philharmonic Orchestra, BBC Singers, Seattle Symphony Orchestra and Atlanta Symphony Orchestra, with performances at the Royal Festival Hall, Queen Elizabeth Hall, The Royal Opera House's Linbury Studio Theatre, Westminster, Canterbury, Gloucester and St Paul’s Cathedrals, Westminster Abbey and Cheltenham Music Festival. TAK was lucky enough to work with Hannah in early 2020 when we were in residence at Columbia University, where she is currently a Doctoral Fellow. On today’s episode, Hannah speaks with vocalist, movement artist and composer Elaine Mitchener, who has performed at venues including Aldeburgh Music, London Contemporary Music Festival, 56th Venice Biennale, ULTIMA Festival, and La Monnaie, and with musicians such as Moor Mother, Christian Marclay, Apartment House, George Lewis and Evan Parker. Hannah Kendall’s website: https://hannahkendall.co.uk/ Catch The Knife of Dawn / Royal Opera House performance on Oct. 24: https://www.roh.org.uk/tickets-and-events/new-dark-age-details Elaine Mitchener’s website: https://www.elainemitchener.com Watch SWEET TOOTH: https://www.elainemitchener.com/sweet-tooth Hear her recent performance at Donaueschinger Musiktage: https://www.swr.de/swr2/musik-klassik/-radiokonzert-elaine-mitchener-und-das-ensemble-mam-mit-auffuehrungen-zu-texten-der-jamaikanischen-schriftstellerin-sylvia-wynter-100.html Catch her Oct. 28 performance live on BBC radio3: https://londonsinfonietta.org.uk/whats-on/yet-unheard

De Kënschtler Christian Marclay ass spéitstens zanter senger Videoinstallatioun "The Clock", fir déi hien 2011 de gëllene Léif op der Biennale vu Venedeg kritt hat, international bekannt. Dobäi handelt et sech ëm e 24-Stonnen-Zesummeschnëtt mat Aueren an anere Chronometeren aus Filmsequenzen. D'Ekipp vum Mudam war schonn éischter op de Christian Marclay opmierksam ginn, esou datt de Kënschtler, am Optrag vum Pei-Musée, 2002 d'Videoinstallatioun "Video Quartet" kreéiert huet. D'Kerstin Thalau iwwer eist Musée-Collectiouns-Stéck vun der Woch.

In this episode we talk about Elaine Mitchener's many projects, improvisation, music education, Jeanne Lee and much more. Elaine Mitchener is an experimental vocalist, movement artist and composer, whose work encompasses improvisation, contemporary music theatre and performance art. Born in East London to Jamaican parents, Elaine studied voice at Trinity College of Music, London and currently studies with Jacqueline Bremar. She has performed at numerous UK and European festivals, venues and galleries including Aldeburgh Music, London Contemporary Music Festival (LCMF), 56th Venice Biennale, Wysing Arts, Café Oto (London), Bluecoat (Liverpool), SAVVY Contemporary (Berlin), Purcell Room (Southbank Centre, London), Huddersfield Contemporary Music Festival, ULTIMA Festival (Oslo), OCCUPY (St John’s Smith Square), SPILL Festival (Ipswich), La Monnaie (Brussels), Block Universe (London), White Cube (London), Whitechapel Gallery (London), Weserburg MOMA (Bremen), Wellcome Collection (London), and the Institute of Contemporary Arts (London). She has worked and performed in a wide variety of contexts with an array of leading musicians, composers, directors and visual artists including Moor Mother (Camae Ayewa), Mark Padmore, The Otolith Group, Deborah Warner, Christian Marclay, Apartment House, Steve Beresford, Pat Thomas, Irvine Arditti, Sonia Boyce, London Sinfonietta, John Butcher,Tansy Davies, George. E. Lewis, Attila Csihar, Rolf Hind, Dam Van Huynh, Lore Lixenberg, George Lewis, Alexander Hawkins, Sam Belinfante, Phil Minton, Evan Parker, Alasdair Roberts, Lucy Bailey, David Toop, Netia Jones, Matt Wright, and Jason Yarde. Elaine is co-founder of the experimental jazz quartet the Hawkins/Mitchener Quartet and a regular vocalist with the ensemble Apartment House. She created the role of Hannah/Voice singing with tenor Mark Padmore, in the opera CAVE, by composer Tansy Davies with libretto by Nick Drake, co-commissioned by the London Sinfonietta / Royal Opera House and directed by Lucy Bailey which premiered in June 2018. Her production company Elaine Mitchener Projects has researched, developed, produced and toured or staged a number of projects including Industrialising Intimacy (with choreographer Dam Van Huynh, David Toop, George Lewis); The Nude Voice (with Dam Van Huynh) commissioned for the Wellcome Collection London’s THIS IS A VOICE exhibition; ‘I back… I neck… I face… I chest’ commissioned by Sonia Boyce for her installation We Move In Her Way at London’s ICA; Of Leonardo da Vinci (with Dam Van Huynh, David Toop, Barry Lewis) for Oslo’s ULTIMA Festival; the three hour durational performance [NAMES] premiered at Ipswich’s SPILL Festival; a presentation of John Cage’s SongBooks for London’s Poetry In The City Festival; Vocal Classics of the Black Avantgarde for LCMF; and SWEET TOOTH in partnership with Bluecoat Liverpool, Stuart Hall Foundation and the International Slavery Museum. Premiered in Nov 2017, SWEET TOOTH has been described as ‘a vital black British addition to those seminal creative statements of resistance and defiance from the African Diaspora’, and was subsequently broadcast on BBC Radio 3’s Hear and Now programme (Dec 2017). Elaine has participated in residencies and symposiums including Aldeburgh Music (to develop SWEET TOOTH) and Fondazione Claudio Buziol, Venice (where she developed Of Leonardo Da Vinci supported by Muziektheater Transparant) and New Resonances organised by Theatrum Mundi. For more information about Elaine Mitchener please visit: http://www.elainemitchener.com/ © Let's Talk Off The Podium, 2020

David Moss evolved from a drummer in 1971 to percussionist/singer, solo performer and and vocalist in contemporary music theater/opera. After working with composers/musicians as varied as Luciano Berio, Carla Bley, Bill Dixon, Heiner Goebbels, Christian Marclay and Olga Neuwirth, he offers thoughts and experiences on a life in music. On April 10th 2018 I have started the podcast "neue music leben"!!!!!! Thank you so much for listening. All the best, Irene

Artist and producer Beatrice Dillon’s new piece for ASSEMBLY, infraordinary, combines installation and performance, in which specially composed sounds are triggered using the system’s Kinect camera, alongside a live controlled sound mix of the street. Inspired by writer Georges Perec’s concept of the ‘infra-ordinary’ - taking account of the micro events of the everyday - the performance attempts to examine and reframe the rhythmic patterns of the street outside. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances.  Beatrice Dillon is an artist and music producer who has produced solo and collaborative releases across Boomkat Editions, Hessle Audio, The Trilogy Tapes, PAN, Timedance and Where To Now? Recent performances include Barbican Centre, Tokyo’s wwwX, MUTEK Montreal, Dekmantel, Documenta Athens, Cairo’s Masåfåt Festival, Norway’s Insomnia and Documenta Athens. With a background in fine art, Beatrice has produced sound and music commissions for Outlands Network, Lisson Gallery, Études Paris, AND Festival, Somerset House and has collaborated with visual artists and choreographers across ICA, TATE, Southbank Centre, York Mediale, Centre d’Art Contemporain Geneva, MACVAL Paris, Nasher Center Dallas and Mona Tasmania amongst others. She was the recipient of Wysing Arts Centre’s artist residency, is a resident at Somerset House Studios and presents a show on NTS Radio. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

For ASSEMBLY, Karen Gwyer approached the street noises as drums. Building over the course of the performance, Karen will use and process the ambient sounds to create a multilayer, polyrhythmic piece created from the more punchy and identifiable sounds as well as distorting the general hum. The mood and intensity will shift as the performance progresses. On top of the rhythmic street sounds, layers of synths will build to create a moving yet sobering composition that draws on Karen’s own emotions around her 12 years as a Londoner, both the pain and relief of leaving, and the conflict of looking at it now from afar. Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Karen Gwyer was born in the southern US and raised in the north. Now based in Berlin after more than a decade in London, she shifts between pumping, thickly melodic, just left-of-techno dancefloor vibes and diversionary acidic psychedelia in her expansive, largely analogue live electronic performances. To date, she has released a handful of acclaimed recordings on Don’t Be Afraid, Nous Disques, Opal Tapes and Kaleidoscope, among others. She has produced remixes for labels such as InFiné, Software, and Public Information, and has created a number of commissioned pieces for Berlin’s Pop-Kultur festival and Open Music Archive in London. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios. ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Pedestrians, traffic, roadworks, protest; the corner of Somerset House where Waterloo Bridge meets Embankment is a hive of often unpredictable activity and noise. Acknowledging and working with this to define a compositional framework, Marclay invited a series of guests to collaborate in bringing the outdoors inside for an evolving series of electro-acoustic performances. Studios resident Lawrence Lek is an artist, filmmaker and musician whose virtual worlds and animated films create alternate versions of real places. For ASSEMBLY he invited collaborators Seth Scott and Robin Simpson to present a site-specific simulation that acts as an uncanny virtual and sonic double of the performance space. Their performance, Doom, reflects the atmosphere during the Extinction Rebellion protests when Waterloo Bridge – which the Lancaster Rooms overlook – was closed to traffic and filled with warning signs of the coming apocalypse. Christian Marclay’s ambitious and accomplished practice explores the juxtaposition between sound, photography, video and sculpture. His installations display provocative musical and visual landscapes and have been included in exhibitions around the world including the Whitney Museum of American Art, Venice Biennale, Centre Pompidou Paris and Kunsthaus Zurich. More recently, he exhibited The Clock at the Tate Modern (debuted at White Cube in 2010) – an artwork created from thousands of edited fragments, from a vast range of films to create a 24-hour, single-channel video. Podcast produced by Reduced Listening for Somerset House Studios ASSEMBLY Production by Music Hackspace and sound system by Call & Response, with sound and interaction programming from Black Shuck and Preverbal Studio. Lighting design by KitMapper. ASSEMBLY is supported by PRS Foundation’s The Open Fund, The Adonyeva Foundation and the John. S Cohen Foundation.

Jordan Peele talks about Us - his new film about a family terrorised by their doppelgängers. Having upturned the horror genre with his Oscar-winning racial satire Get Out, Jordan takes aim at the American dream in this follow up, starring Lupita Nyong'o.The artist Christian Marclay is best known for The Clock - a 24-hour long film composed of nearly 12 000 clips, taken from films depicting time references across a full day. Critic Sarah Crompton assesses his latest two 'collage' video works on show in a new exhibition about to open at the White Cube Gallery in London. The UK contemporary country music scene has grown rapidly over recent years, and this week Bauer Media announced that they will be launching a new radio station, Country Hits Radio. Next month also sees the release of new film Wild Rose where a Glaswegian singer dreams of becoming a Nashville star. The film writer, Nicole Taylor, and Gary Stein of Bauer Media discuss the rise in popularity of the genre here in the UK.Presenter: Samira Ahmed Producer: Hannah Robins

For this episode of The Future Is A Mixtape, Jesse & Matt explore the paranoid dread and narcotic pull of Adam Curtis' most recent documentary of political-noir, HyperNormalisation. In 2 hours and 40 minutes, it charts the globe-hopping travails of terrorists, bankers, politicians and America's digital aristocracy--all of whom use humanity as pawns by promising simple stories to explain complex problems which can't be solved with “perception management” and pastel fairy-tales about “good vs. evil.” Considered by many to be the most talented and remarkable documentarian in Britain, Adam Curtis has weaved suspicion and suspense into a BBC career that stretches from 40 Minutes: Bombay Motel in 1987 (which explores the have and have-nots of the city) to his most recent film HyperNormalisation in 2016 (which explores how an entirely Russian condition has now passed into the wider-world). Curtis' documentary was released less than a month prior to the mind-gagging upset of Hillary Clinton's loss to Donald Trump, and the film increasingly speaks to a disenchanted, rat-fucked future of no-returns. Jesse & Matt will discuss what makes this “dank” film so compelling and deeply-felt, as well as what makes it, almost equally so, such an evasive work of art. Mentioned In This Episode: The Original Trailer for Adam Curtis' HyperNormalisation Vice: Watch Adam Curtis' Short Film,  Living in an Unreal World, Which Is Effectively a Non-Traditional Film Teaser for His Recently Released Documentary Watch Adam Curtis' HyperNormalisation at This Youtube Link (While It Lasts) Adam Curtis' Official Blog on BBC Adam Curtis' Biography on Wikipedia Internet Movie Database (IMDB) on Adam Curtis Radiohead Does Some ‘Cosmic Shit' with Supercollider--A Tribute to LHC NPR: “It's Locals vs. ‘PIBS' at the Sundance Film Festival” Bondage Power Structures: From BDSM and Spanking to Latex and Body Odors The Sun: “Japan's Weird Sex Hotels -- Offering Everything From Prison Cell Bondage to Vibrator Vending Machines” A Satire of Adam Curtis, The Documentarian: The Loving Trap The Hydra-Headed Tropes of Adam Curtis Films: Chris Applegate on Twitter: “Forget ‘HypernorNormalisation,' Here's Adam Curtis Bingo!” Why Is It That Matthew & Jesse Lack Real Whuffie: Tara Hunt's “The Whuffie Factor: Using the Power of Social Networks to Build Your Business” About New York's Most Legendary New Wave Band: The Talking Heads James Verini in The New Yorker: “The Talking Heads Song That Explains Talking Heads” Christian Marclay's The Clock at The LACMA Museum An Excerpt from Marclay's Film-Collage, The Clock Wired Magazine: “Film Clips of Clocks Round Out 24-Hour Video” A Youtube Excerpt of BBC News Coverage of Christian Marclay's The Clock Ken Hollings in BBC News: “What Is the Cut-Up Method?” William Burrough's “The Cut Up Method” in Leroi Jones' (Baraka) The Moderns: An Anthology of New Writing in America William Burrough's The Naked Lunch A YouTube Clip of Taking Down the Financial District: The Ending of Fight Club Chuck Palahniuk's Fight Club: A Novel Little Known X-Files' Spin-Off Pilot Episode of The Lone Gunmen Eerily Imagined A Plane Crashing Into The World Trade Center A Portrait by Gerard Malanga: “William Burroughs Takes Aim at NY's Twin Towers, from Brooklyn Bridge, 1978” Adam Curtis Documentaries Currently Found on YouTube: Pandora's Box (1992) The Living Dead (1995) Modern Times: The Way of All Flesh (1997) The Mayfair Set (1999) His Finest Achievement & Magnum Opus: The Century of the Self (2002) The Power of Nightmares (2004) The Trap: What Happened to Our Dream of Freedom (2007) All Watched Over By the Machines of Loving Grace (2011) Bitter Lake (2015) HyperNormalisation (2016) Talkhouse: “Tim Heidecker [from Tim & Eric Show] with Adam Curtis” Naomi Klein's Shock Doctrine Matthew Snyder's Syllabus & Course Theme for Fall of 2016: “Presidential Material” Jim Rutenberg in The New York Times: “Can the Media Recover From This Election?” Nate Cohn in The New York Times: “What I Got Wrong About Donald Trump” Nate Silver in FiveThirtyEight: “Why FiveThirtyEight Gave Trump A Better Chance Than Almost Anyone Else” People Pretended to Vote for Kennedy in Larger and Larger Numbers After His Assassination: Peter Foster in The Telegraph: “JFK: The Myth That Will Never Die” YouTube Clip of Alex Jones Getting Coffee Thrown onto to Him While in Seattle Fredrick Jameson on the True Nature of Conspiracy Theories in His Famous Work, Postmodernism, Or, The Cultural Logic of Late Capitalism (1992):The technology of contemporary society is therefore mesmerizing and fascinating not so much in its own right but because it seems to offer some privileged representational shorthand for grasping a network of power and control even more difficult for our minds and imaginations to grasp: the whole new de-centered global network of the third stage of capital itself. This is a figural process presently best observed in a whole mode of contemporary entertainment literature -- one is tempted to characterize it as "high-tech paranoia" -- in which the circuits and networks of some putative global computer hookup are narratively mobilized by labyrinthine conspiracies of autonomous but deadly interlocking and competing information agencies in a complexity often beyond the capacity of the normal reading mind. Yet conspiracy theory (and its garish narrative manifestations) must be seen as a degraded attempt -- through the figuration of advanced technology -- to think the impossible totality of the contemporary world system. It is in terms of that enormous and threatening, yet only dimly perceivable, other reality of economic and social institutions that, in my opinion, the postmodern sublime can alone be theorized. Perception Management: A Working Definition Adam Curtis' Remarkable Analysis of Neoconservatives and The Taliban in The Power of Nightmares (2004) The BBC Director's Finest Achievement & Magnum Opus: The Century of the Self (2002) Edward Bernays' Propaganda (Published in 1928) Haskell Wexler's Medium Cool (1968; Released on Criterion in 2013) Jaime Weinman in Maclean's: “The Problem With ‘Problematic'” Gore Vidal: A Working Biography James Kirkchick in The Daily Beast: “Why Did Gore Vidal and William Buckley Hate Each Other?” Morgan Neville's Best of Enemies: Gore Vidal vs. William F. Buckley Christopher Hitchens: A Working Biography The Future Is A Mixtape: Episode 004: “TDS: Terminal Dystopia Syndrome” Dave Eggers' Half-Burnt Satire & Confused Omelette: The Circle Strange Horizons: Estrangement and Cognition by Darko Suvin Takayuki Tatsumi in Science Fiction Studies (V:11; PII): “An Interview with Darko Suvin” David Graeber in The Guardian: “Why Is the World Ignoring the Revolutionary Kurds in Syria?” David Graeber on Real Media: “Syria, Anarchism and Visiting Rojava” InfoWar: “David Graeber: From Occupy Wall Street to the Revolution in Rojava” ROAR Magazine: “Murray Bookchin and The Kurdish Resistance” About PissPigGranddad in Rolling Stone: “American Anarchists Join YPG in Syria Fighting ISIS, Islamic State” The New York Magazine: “The DirtBag Left's Man in Syria: PissPigGranddad Is Coming Home from Syria” IMPORTANT CORRECTION: Matt's claim that HyperNormalisation--the term--came from two Russian brothers, Arkady and Boris Strugatsky, who were both Science Fiction authors, is DEAD wrong. The term "hypernormalisation" is taken from Alexei Yurchak's 2006 book Everything Was Forever, Until It Was No More: The Last Soviet Generation. Arkady and Boris Strugatsky: A Working Biography Guy Debord's Society Of The Spectacle (The Original 1967 Book) Guy Debord's Society Of The Spectacle (The 1973 Film on YouTube) Harold Bloom's The Anxiety of Influence: A Theory of Poetry Mike Davis' “Not a Revolution--Yet” {His Brilliant Multi-Causal Analysis of Why Donald Trump Won the Election} Jodi Dean on Why Facebook Crushes Complexity of Thought: “Communicative Capitalism and the Challenges of the Left” China Mieville in Socialist Review: “Tolkien - Middle Earth Meets Middle England” Thought Catalog: “14 Unexpected Ways Your Relationship With Your Parents Changes As You Get Older” The Atlantic: “12 Ways to Mess Up Your Kids” Tim Lott in the Guardian About Children's Ruthless Engagement with Irony: “Are Sarcasm and Irony Good for Family Life?” George W. Bush Telling Americans to Still Go Shopping with Their Families and Travel to Disneyland Ranker: “11 Ways Dying in Real Life Is Way Different Than Movie Deaths” David Graeber in Baffler: “Of Flying Cars and the Declining Rate of Profit” Jules Verne's Around the World in Eighty Days Steven Soderbergh's Ocean's Eleven & Twelve John A. Farrell in The New York Times: “Nixon's Vietnam Treachery” Peter Baker in The New York Times: “Nixon Tried to Spoil Johnson's Vietnam Peace Talks in ‘68, Notes Show” Brick Underground: “Stop Blaming the Hipsters: Here's How Gentrification Really Happens (And What You Can Do About It)” Matt Le Blanc's Episodes Chris Renaud's Dr. Suess' The Lorax (The Fucking Godawful Movie-Travesty) Dr. Suess' Brilliant Book on Ecology and Capitalism: The Lorax A Historical Guide in How Women's Rights Have Been Used in War as Seen in Katharine Viner's Essay in The Guardian: “Feminism as Imperialism” Zillah Eisenstein in Al Jazeera: “‘Leaning In' in Iraq: Women's Rights and War?” David Cortright in The Nation: “A Hard Look at Iraq Sanctions” Ricky Gervais' Extras: The Complete Series (On DVD) Annie Jacobsen's Area 51: An Uncensored History of America's Top Secret Military Base Salon Magazine: “The Area 51 Truthers Were Right” Christopher Guest's For Your Consideration How Adam Curtis Misunderstands Arab Spring, Occupy and Weirdly Ignores Bernie Sanders in Jonathan Cook's Essay in Counterpunch: “Adam Curtis: Another Manager of Perceptions” The Los Angeles Review of Books: Mike Davis on Occupy Wall Street in His Essay: “No More Bubblegum” Whuffie: A Working Definition Cory Doctorow Excoriates His Naive Idea of Whuffie in His Essay in Locus Magazine: “Wealth Inequality Is Even Worse in Reputation Economies” Dear Adam Curtis: Here's Some Actual, Real-Life Examples of Organizations Offering Alternatives to Our TDS World: The Next System Project Transition Town: United States IE2030 Open Source Ecology Democracy at Work Community Land Trust Network Democratic Socialists of America Corbyn's Labour Party Momentum: A New Kind of Politics The World Transformed Novara Media Marshal Ganz's Why David Sometimes Wins: Leadership, Organization, and Strategy in the California Farm Worker Movement Malcolm Gladwell's David and Goliath: Underdogs, Misfits, and the Art of Battling Giants John Lynch in Business Insider: “The Average American Watches So Much TV It's Almost a Full-Time Job” Kathryn Cramer in The Huffington Post: “Enough With Dystopia: It's Time For Sci-Fi Writers To Start Imagining Better Futures” Jeet Heer in New Republic: “The New Utopians” (an Overview of Kim Stanley Robinson's Works & Other Authors Using SF to Imagine a Better Future) Radiohead's Music Video for “Daydreaming” The New Yorker: “The Science of Daydreams” The Australian: “The Benefits of Lucid Dreaming” Anna Moore in The Guardian Explores Our Twenty-Year Relationship with Prozac: “Eternal Sunshine” Larry O'Connor in The Washington Free Beacon: “Ending the Starbucks ‘Pay-It-Forward' Cult, for America” Mimi Leder's Pay It Forward (Featuring Haley Joel Osment, Helen Hunt and Kevin Spacey) The Economist on BlackRock's Aladdin: “The Monolith and the Markets” Foundational Articles & Interviews With Adam Curtis: The Wire Magazine: “An Interview With Adam Curtis” Vice: “Jon Ronson in Conversation with Adam Curtis” Paste Magazine: “Adam Curtis Knows The Score: A List of Five Films”   Feel Free to Contact Jesse & Matt on the Following Spaces & Places: Email Us: thefutureisamixtape@gmail.com Find Us Via Our Website: The Future Is A Mixtape Or Lollygagging on Social Networks: Facebook Twitter Instagram

Intro to the course: philosophical issues of representation, therefore of space and time, thence of will, and therefore of self.  Viewing and discussion of Christian Marclay's Telephones (1995) (https://www.youtube.com/watch?v=yH5HTPjPvyE).

Dave's shocking revelations about his childhood flirtation with showtunes shock Alonso, and they eventually talk about the week's new movies after a long digression involving Christian Marclay's 24-hour film "The Clock."

Alonso would rather watch nine hours of Christian Marclay's conceptual art than 86 minutes of Smurfs, and Dave loves Miranda July and Captain America and doesn't care who knows it.

Episode 85, Some Assembly Required (featuring our 2004 interview with Christian Marclay) 01 Christian Marclay/Gunter Muller – “Love gasoline†02 Christian Marclay – “Jimi Hendrix†03 Christian Marclay – “Detroit, 12/21/02†04 C. Marclay/G. Muller – “Je Ne Vous Oublierai Jamais†05 Christian Marclay/Gunter Muller – “pfiff†06 Christian Marclay – “Don’t stop now†07 Christian Marclay – “Johann Strauss†08 Christian Marclay/Gunter Muller – “Vitalium†09 Christian Marclay – “Annandale-on-Hudson, 11/19/03†10 Christian Marclay – “New York, 9/17/00†11 Christian Marclay – “One thousand cycles†Use this address, for your pod software: http://feeds.feedburner.com/some-assembly-required/JSpD