Podcast appearances and mentions of Christian Wolff

In unserer neuesten Folge von Napalm am Morgen – Der Filmpodcast gibt's wieder ordentlich was auf die Ohren – von epischen Sequels bis hin zu trashigen Blockbustern.Robbie Williams als animierter Affe? Genau das passiert in "Better Man", in dem Williams per Motion‑Capture von einem CGI-Schimpansen gespielt wird. Seine Begründung: "Ich bin im Showbusiness wie ein performender Affe". Wir diskutieren, ob dieses visuelle Experiment funktioniert.Ridley Scotts Monumental-Epos "Gladiator 2" mit Paul Mescal, Pedro Pascal und Denzel Washington knüpft 24 Jahre nach dem Oscar-Megahit an. Blutige Arenen, politische Intrigen – das Sequel mag kein Meisterwerk sein, aber es liefert packendes Spektakel und eine grandiose Performance von Washington."Final Destiantion 4" ist wahrscheinlich der schwächste Teil der Kult-Horrorreihe (2009). Wir verraten, warum die übertriebenen Todesfallen hier eher ins Lächerliche abbogen statt Spannung zu erzeugen . Ganz großes Trash-Kino: Hai-Tornado im Großstadtchaos! "Sharknado" steht für cineastische Katastrophe mit Kultstatus – so schlecht, dass es schon wieder genial ist. Ben Affleck kehrt in "The Accountant 2" zurück als Christian Wolff. Der Action-Thriller auf Amazon Prime baut auf dem Original von 2016 auf und bekommt ein Buddy-Action-Update mit Bruder Jon Bernthal. Wir klären, ob das Sequel hält, was es verspricht. Hausaufgabe für nächste Woche: "Predator: Killer of Killers" (Disney Plus) #NapalmAmMorgen

Forensic accountant Christian Wolff teams up with his estranged but highly lethal brother to track down mysterious assassins.YouTube: https://www.youtube.com/channel/UChpl-tmHTAG-dW3srDQVVjA Facebook: https:/Instagram: https://www.instagram.com/mos_tv16 https://www.instagram.com/just_adrian__ Twitter: https://mobile.twitter.com/amreviews3. Send us a message through this link to get featured on the show: https://anchor.fm/am-reviews/message

Access this entire 90-minute episode (and additional monthly bonus shows) by becoming a Junk Filter patron for only $5.00 (US) a month! Over 30% of episodes are exclusively available to patrons of the show. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/posts/212-accountant-2-128936873The comedy writer Ursula Lawrence returns to the podcast from Madison Wisconsin for a sequel to our Junk Filter episode about Ben Affleck's ludicrous 2016 thriller The Accountant. Coming along almost 9 years after the original, Gavin O'Connor's The Accountant 2 chronicles the continuing adventures of Christian Wolff, the autistic number-cruncher slash hitman who is brought in to solve the murder of retired Financial Crimes detective J.K. Simmons and crack a human trafficking ring with the help of his estranged assassin brother Braxton (Jon Bernthal) and his silent partner Justine who runs a secret school of autistic hacker children who can break into any computer system to help him solve the case.Whereas the first film was so serious in tone it lapsed into unintentional comedy, the sequel doubles down not only on the laughs (and convoluted plotting) but also on the controversial portrayal of autism as a superpower to create an equally loopy thriller / hangout film that forges the way to this becoming a regular franchise, and stands as a necessary cultural corrective to Robert F. Kennedy Jr's ongoing real-life demonization of people with autism. In fact we hope RFK Jr. is the villain in The Accountant 3!Plus: a discussion of the Oscar-winning short film The Accountant (2001) starring a pre-fame Walton Goggins, and a deluge of bad puns from the reviews of The Accountant 2!Follow Ursula Lawrence on Twitter and Bluesky and you can purchase the latest edition of her French Republican Wall Calendar here!Trailer #2 for The Accountant 2 (Gavin O'Connor, 2025)

In this episode, I get into The Accountant 2, the long-awaited sequel to the action-thriller starring Ben Affleck as math-genius-turned-assassin Christian Wolff.

Forensic accountant Christian Wolff teams up with his estranged but highly lethal brother to track down mysterious assassins. Starring Ben Affleck, Jon Bernthal, Cynthia Addai-Robinson, Daniella Pineda, Allison Robertson and J.K. Simmons Where to find the crew: @makeitacombopod on Instagram, Twitter, and TikTok Jesse @LordLenix on Instagram, Twitter, and TikTok Jr @a.jr.combo on Instagram and @ajrcombo on Twitter All Our Podcasts on Make it a Combo Productions: Dream Talk @dreamtalkthepodcast on Instagram

Daniel and Erwin review the surprise sequel, Gavin O'Connor's "The Accountant 2." They talk about the surprise tone, the action, the Buddy chemistry with Jon Bernthal and Ben Affleck and more. Did they love it, did they hate it, or are they Somewhere Between? Listen to find out!Forensic accountant Christian Wolff teams up with his estranged but highly lethal brother to track down mysterious assassins.Release date: April 25, 2025 (USA)Director: Gavin O'ConnorStarring: Ben Affleck; Jon Bernthal; Cynthia Addai-Robinson; Daniella Pineda; J. K. SimmonsRunning time: 2h 5mMPAA rating: RDistributed by: Warner Bros. Pictures, Amazon MGM Studios, Metro-Goldwyn-Mayer

In this week's episode of the world's-fastest-movie-review podcast, Jackson and Mike review TWO new films!!! First “THE ACCOUNTANT 2”. Forensic autistic accountant Christian Wolff teams up with his estranged but highly lethal brother to track down mysterious assassins. Starring Ben Affleck, Jon Bernthal, Cynthia Addai-Robinson, Daniella Pineda, and J. K. Simmons. Then, a quick review of “SINNERS“. Trying to leave their troubled lives behind, twin brothers return to their Mississippi hometown to start again, only to discover that an even greater evil is waiting to welcome them back. Starring Michael B Jordan, Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Jayme Lawson, Omar Miller, and Delroy Lindo. 

Mário Abbade fala sobre a sequência do thriller de ação estrelado por Ben Affleck, que volta ao papel do enigmático Christian Wolff, um matemático brilhante com habilidades letais. Neste novo capítulo, o protagonista se vê novamente envolvido em uma conspiração que mistura cifras, crime organizado e acerto de contas.

Our long national nightmare is over: Movie Squad is back from hiatus. After a few long, long, too-long weekends, Tristan Fidler and Simon Miraudo reunite with Breakfast host Pam Boland to catch-up on the latest releases. But not before they rank the best pope (and pope-adjacent) movies! With that important business out of the way, Tristan leads a review of Ryan Coogler's Sinners, which sees the director reunite with his muse Michael B. Jordan (times two!) for a tale of twins who set up a juke joint and battle vampires in Mississippi. Then, Simon tries to justify his enjoyment (and the existence) of The Accountant 2, wherein Ben Affleck reprises the role of Christian Wolff, a neurodivergent CPA with a penchant for righting wrongs and breaking arms. Keep listening for a pod-exclusive review of the Chinese docufiction An Unfinished Film, about a production crew that attempts to complete a long-ago-aborted project in Wuhan circa January 2020. Be sure to tune in to RTRFM every Friday at 7:30am to hear Movie Squad live on Breakfast with Pam! Head here for more details on the Palestinian Film Festival that runs from 2 – 4 May at Luna Palace Cinemas. And in case you missed it, the Movie Squad caught up with Alexei Toliopoulos and Zachary Ruane to discuss their brand new comedy show Refused Classification, which comes to Perth on 9 May!

Ben Affleck and Jon Bernthal team up in The Accountant 2 — was it worth the wait? In this Reactioncast episode, we break down the action, brotherly chaos, unexpected humor, and favorite moments!Review Tags:The Accountant 2, Ben Affleck, Jon Bernthal, action movie review, assassin movies, brothers in film, movie review podcast, action thriller podcast, Reactioncast, movie sequel review, assassin thriller, The Accountant movie series, Christian Wolff, Gavin O'Connor director, best action movies 2024, unexpected humor movies, assassin action movies, Ben Affleck podcast review, Jon Bernthal roles

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We analyze whether The Accountant 2 improves upon its predecessor as Ben Affleck returns as Christian Wolff, the autistic mathematical genius who serves as both accountant and assassin.• Ben Affleck delivers a more nuanced performance of autism in the sequel, showing detailed mannerisms and speech patterns• The movie portrays autism almost as a superpower rather than a limitation• John Bernthal returns as Christian's brother, with their relationship forming the emotional core of the film• The plot focuses on solving a Treasury chief's murder and rescuing a kidnapped Mexican family• The sequel features more hand-to-hand combat versus the shooting-heavy approach of the first film• The storyline sets up potential for a third installment• We also discuss Hot Tub Time Machine (2010) as a perfect background comedy with nostalgic 80s references• Modern comedies struggle to match the unfiltered humor of earlier decades• Both films receive similar ratings (6-7.5/10) but for very different reasons

In today's video, we're discussing the long-awaited sequel to The Accountant, released nine years after the original. Directed by Gavin O'Connor, The Accountant 2 has generated plenty of buzz, especially after its respectable $144 million global box office. But does it live up to the original? Let's break it down.Key Points:Ben Affleck's Return: Affleck reprises his role as Christian Wolff, a math genius and assassin with a complicated past. His performance continues to be strong, and his dynamic with John Bernthal adds a new layer of depth to the story.Chemistry Between Affleck & Bernthal: One of the standout aspects of The Accountant 2 is the chemistry between Affleck and Bernthal. Their interactions feel natural and engaging, bringing an authenticity to their characters' complex relationship.Ben Affleck's Career: We dive into Affleck's career journey, from Argo to The Town and beyond. How has he balanced his artistic projects with commercial successes? We analyze his role choices and what this sequel means for his future in Hollywood.The Controversy of “Sinners”: We also briefly touch on the controversy surrounding "Sinners", a vampire movie criticized for mocking faith. Why does this controversy matter, and how does it reflect the broader challenges filmmakers face when trying to balance creative expression with audience sensibilities?Original Films Matter: Despite the controversies surrounding some of the films discussed, George stresses the importance of supporting original films like The Accountant 2 over franchises and reboots. These projects bring fresh perspectives and unique storytelling to the big screen.Ratings:The Accountant 2: George gives it a B-minus. While the film has strong performances and a gripping story, it doesn't fully reach the highs of the original.Havoc: George rates it a B—a solid action movie, but not groundbreaking.

Juanma González nos propone tres estrenos para disfrutar de la semana: El contable 2, Los pecadores y Warfare. ¡Vamos con ello! En Es la Mañana de Fin de Semana, Juanma González ha comentado los principales estrenos de la cartelera esta semana.El contable 2 Su protagonista, Christian Wolff, tiene talento para resolver problemas complejos. Cuando un viejo conocido es asesinado, dejando tras de sí un críptico mensaje para "encontrar al contable", Wolff se ve obligado a resolver el caso. Para ello, unirá fuerzas con su hermano Brax y Marybeth Medina, subdirectora del Tesoro de Estados Unidos, para destapar una conspiración, convirtiéndose en el objetivo de una letal red de asesinos. Para Juanma González , esta película "es la que va a tener más repercusión" y el personaje del contable "le queda muy bien a Ben Affleck", ha asegurado. Se trata de una nueva intriga relacionada con el tráfico de personas y la frontera de México. Las personas que no hayan visto El contable deben tener en cuenta que "las complicaciones que tiene tampoco dependen de la primera, pero sí que es cierto que favorece el hecho de que tú recuerdes la primera película, aunque no continúan"Los pecadores "Esta película está siendo un enorme éxito en Estados Unidos", ha expresado Juan, "aunque en España no tanto y me entristece un poco". En esta película, tratando de dejar atrás sus problemáticas vidas, dos hermanos gemelos –Jordan – regresan a su pueblo natal para empezar de nuevo, solo para descubrir que un mal aún mayor les espera para darles la bienvenida. Juanma González ha recomendado ver la película en IMAX, el formato más grande que existe. Asimismo, ha sostenido que "hay una escena post créditos muy importante porque incluso te revela un giro argumental que es a los minutos y pico de empezar los créditos". Para Juanma González "es una película que está especialmente bien hecha y es muy blacksplotation en todos los sentidos". Lo que propone su director Ryan Coogles es "una mezcla de cine musical, de drama histórico y de película de terror".Warfare Basada en las experiencias reales del ex marine Ray Mendoza (codirector y coguionista de la película) durante la guerra de Irak. Introduce al espectador en la experiencia de un pelotón de Navy SEALs estadounidenses. Concretamente en una misión de vigilancia que se tuerce en territorio insurgente. Una historia visceral y a pie de campo sobre la guerra moderna y la hermandad, contada como nunca antes: en tiempo real y basada en los recuerdos de quienes la vivieron. Su director, Alex Garland, "ha hecho todo para que los movimientos de los actores –lo que dicen y hacen – se ajuste a la experiencia de un combate real", ha sostenido Juanma Rodríguez. Y es una película "repleta de estrellas".

This week, Clarisse chats to Gareth Evans about his new, Tom Hardy-fronted action movie, HAVOC (05:00). Meanwhile, Ben Affleck is back as autistic assassin Christian Wolff in THE ACCOUNTANT 2 (21:05), while Christopher Abbott and Mackenzie Davis star as a couple whose fragile marriage is threatened by the arrival of Ariane Labed in SWIMMING HOME (40:46). Plus, in our HOT TAKE (56:17), with SINNERS raking it in at the box office, we look at the unusual deal Ryan Coogler made with Warner Bros and ask: what does this mean for the future of Hollywood?If you would like to donate directly towards humanitarian aid in Gaza please visithttps://www.map.org.uk/https://www.safebowgazanaid.com/take-action-nowJoin the conversation or suggest a Hot Take for the gang to discuss tweet us at @FadeToBlackPodFollow us: @amonwarmann, @clarisselou, @hannainesflintMusic by ⁠The Last Skeptik⁠If you like the show do subscribe, leave a review and rate us too!

Min 5: EL CONTABLE 2 El Contable 2 (The Accountant 2) es la secuela del thriller de acción de 2016 protagonizado por Ben Affleck. Dirigida nuevamente por Gavin O'Connor, retoma la historia del contable forense autista Christian Wolff, quien combina sus habilidades matemáticas con una vida secreta como vigilante. La secuela adopta un enfoque diferente al de su predecesora, transformándose en una especie de "buddy movie" de los años 90, con la incorporación de Jon Bernthal, encarnando al hermano trasgresor del protagonista. Una apuesta que ha entretenido a nuestros críticos, pero que peca de restar protagonismo a las escenas de acción que habrían mejorado la sensación final. De ahí el aprobado justo que se lleva en nuestro Filtro Luchini. NOTA EDC: 2,5 estrellas Min 14: UNTIL DAWN ?Until Dawn (2025) es una adaptación cinematográfica del aclamado videojuego de terror de Supermassive Games. Dirigida por David F. Sandberg (¡Shazam!) y escrita por Blair Butler y Gary Dauberman. La historia sigue a Clover (Odessa A'zion) y sus amigas, quienes, un año después de la desaparición de la hermana de Clover, Melanie, viajan al remoto valle donde ocurrió la tragedia. Allí, en un centro de visitantes abandonado, son perseguidas por un asesino enmascarado que las mata una a una, solo para despertarse al inicio de la misma noche. Atrapadas en un ciclo mortal, enfrentan amenazas cada vez más aterradoras. Nuestra experta en Hobby Consolas reconoce que es un buen ejemplo de adaptación de videojuego y Luchini, pese a sus miedos iniciales, reconoce que hasta se ha reído en algunas de las secuencias más sangrientas. Con todo, Until Dawn, tampoco pasa del aprobado. NOTA EDC: 2,5 estrellas Min 21: EL ÚLTIMO SUSPIRO El último suspiro ( Le Dernier Souffle) supone el regreso del veterano director franco-griego Costa-Gavras. A sus 92 años, el cineasta ofrece una obra que aborda con sensibilidad y profundidad el tema de la muerte digna y los cuidados paliativos, inspirada en el ensayo homónimo de Régis Debray y Claude Grange. Luchini da fe de su calidad y del aprendizaje vital que ofrece, pero avisa que no es para sentarse a verla con el ánimo bajo. NOTA EDC: 3,5 estrellas Min 27; THE END The End es el primer largometraje de ficción del director Joshua Oppenheimer, conocido por sus documentales The Act of Killing y La mirada del silencio. Ambientada dos décadas después de un apocalipsis global, la historia sigue a una familia compuesta por Padre (Michael Shannon), Madre (Tilda Swinton) e Hijo (George MacKay), que vive en un lujoso búnker construido en una mina de sal. El hijo, de 20 años, nunca ha visto el mundo exterior. La llegada de una joven (Moses Ingram) a la entrada del búnker altera la aparente armonía familiar, desencadenando tensiones y cuestionamientos sobre su existencia aislada. Vista y analizada por Raquel Hernández, es de esas propuestas en las que, o entras y quedas fascinado, o no entras y sales de la sala con sabor agridulce. La crítico de Hobby Consolas se queda en el segundo grupo y la aprueba por los pelos. NOTA EDC: 2,5 Min 32: LA ISLA DE LOS FAISANES La isla de los faisanes (Faisaien Irla) es el primer largometraje de ficción del director vasco Asier Urbieta. Ambientada en la Isla de los Faisanes, un pequeño islote en el río Bidasoa cuya soberanía comparten España y Francia, la película aborda la crisis migratoria en esta frontera natural, inspirándose en hechos reales ocurridos en 2021. Debú meritorio de Urbieta que, para Luchini, no pasa sin embargo de las 2,5 estrellas. Min 34: TODO LO QUE NO SÉ También llega a las salas la ópera prima directora Ana Lambarri. La película ofrece una mirada íntima y honesta sobre las tensiones emocionales y sociales que enfrentan muchas mujeres contemporáneas, especialmente aquellas que rondan los 35 años y se sienten atrapadas entre expectativas incumplidas y responsabilidades familiares. NOTA EDC: 2,5 estrellas Min 35: LA PELÍCULA DE TU VIDA: ARTURO MENOR En este capítulo de Estamos de Cine contamos con el toledano Arturo Menor. Biólogo, naturalista, guionista, director de fotografía y director de cine de naturaleza, nominado al Goya hace dos años por "Iberia Naturaleza Infinita" nos explica porqué el largometraje documental francés "Nómadas del viento" es el título que ha marcado su vida y sobre todo su trayectoria profesional. Min 38: ESPECIAL BSO "LOS PECADORES": UN GORANSSON DE OSCAR La banda sonora de Los pecadores (Sinners), compuesta por Ludwig Göransson, ha sido aclamada por la crítica como una de las obras más ambiciosas y emocionalmente resonantes del cine reciente. Esta colaboración entre Göransson y el director Ryan Coogler, quienes ya habían trabajado juntos en Creed y Black Panther, se sumerge en las raíces de la música afroamericana del sur de Estados Unidos para crear una experiencia sonora única. Recogiendo el pañuelo que nos lanzó hace una semana Raquel Hernández en su crítica, Ángel Luque y Roberto Lancha ofrecen una degustación de alto nivel de una de las composiciones clave del año. NOTA EDC. 4,5 estrellas

Coming up on today's Movie Show, Andy & Steve review The Accountant 2 - Christian Wolff applies his brilliant mind and illegal methods to reconstruct the unsolved puzzle of a Treasury chief's murder. T.C. Christensen, writer/director/cinematographer for the new film Raising the Bar: The Alma Richards Story joins Andy Farnsworth & Steve Selles.  The guys will also review Until Dawn, Raising the Bar, The Legend of Ochi, The Shrouds, Cheech & Chong's Last Movie, and On Swift Horses.  Andy and Steve will review the Netflix movie Havoc - After a drug deal gone wrong, a bruised detective must fight his way through the criminal underworld to rescue a politician's estranged son, unraveling a deep web of corruption and conspiracy that ensnares his entire city. The guys will also review the Prime Video movie Superboys of Malegaon.  In addition, they will look at streaming series like Andor(Disney+), You S5(Netflix), and WondLa on Apple TV+.  Here are some honorable mentions:    Listen to The Movie Show with Andy Farnsworth and Steve Salles on Fridays from 11 am to 1 pm on 102.7 FM & 1160 AM, kslnewsradio.com, or on the KSL NewsRadio App. Follow the show on Facebook at @TheMovieShow and text "Movie" to 57500. (Message and data rates may apply; Text STOP to cancel; Message frequency varies)

Ben Affleck y Jon Bernthal regresan como Christian Wolff y Braxton en The Accountant 2, buscando a los asesinos de un viejo amigo de Christian.

The good weather is here but so is pollen, and mosquitos. So you're better off staying indoors and watching something and boy do we have a lot of options for you. First we've got the long awaited sequel "The Accountant 2" in which Ben Affleck returns as Christian Wolff, who applies his brilliant mind and illegal methods to reconstruct the unsolved puzzle of a Treasury chief's murder. We've also got "Queen of the Ring" inspired by the true story of Mldlred Burke, a small town single mother embraces the danger as she dominates America's most masculine sport and becomes the first million dollar female athlete in history. And for those who like quirky movies there's "The Legend of Ochi" in which a shy girl is raised to fear an elusive animal species known as ochi. But when she discovers a wounded baby ochi has been left behind, she escapes on a quest to bring him home. And for you gentle humor fans there's "The Ballad of Wallis Island." It's about an eccentric lottery winner who lives alone on a remote island tries to make his fantasies come true by getting his favorite musicians to perform at his home. But if you like Jason Staham action movies there's "A Working Man" which shows off his very special skills as he hunts for a missing girl. And ther's the truly weird "The Ugly Stepsister" which follows Elvira as she battles against her gorgeous stepsister in a realm where beauty reigns supreme. We'v also got a literally "uplifting"  documentary on the Palace Theatre in NYC. Plus "The Diamond Heist" which tells how in 2000, a group of London criminals plan an audacious heist: ram-raid the Millennium Dome, steal a diamond and escape by boat on the Thames, but the police are surveilling them. Interested in streaming series?"''Etoile" which which examines life as a dancer. And there's "Dying for Sex" which is the story of a woman diagnosed with metastatic breast cancer, who abandons her husband of 15 years and begins to fully explore her sexuality. Or how about "Your Friends & Neighbors whch stars Joohn Hamm as a hedge fund manager who resorts to burglary after losing his job. And we check out the news seasons of "Hack," "The Last of Us" and "Black Mirror." Put the sunscreen away and give us a listen.

O Contador 2 (2025) é a grande estreia da semana. O longa-metragem, dirigido por Gavin O'Connor, começa quando alguém é morto por assassinos desconhecidos. A agente do Tesouro Marybeth Medina é forçada a contatar Christian Wolff para solucionar o assassinato. Com a ajuda de seu irmão distante, mas altamente letal, Brax, Chris aplica sua mente brilhante e métodos nada legais para juntar as peças do quebra-cabeça.O Contador 2 é estrelado por Ben Affleck, Jon Bernthal, Cynthia Addai-Robinson e J. K. Simmons. Trata-se de uma sequência direta de O Contador (2016). O protagonista interpretado por Affleck é um contador com habilidades extraordinárias para fazer cálculos, pensamento lógico acima do comum e também uma enorme perícia como assassino meticuloso e letal. Suas habilidades estão diretamente relacionadas ao fato de ele ser um neurotípico de alta funcionalidade.Nesse episódio, Marcelo Müller e Robledo Milani conversam sobre O Contador 2. Dê o play e divirta-se!

Acquista il mio nuovo libro, “Anche Socrate qualche dubbio ce l'aveva”: https://amzn.to/3wPZfmCConcludiamo l'analisi della filosofia del tedesco Wolff, parlando anche dei suoi legami con Leibniz e Aristotele.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/dentro-alla-filosofia--4778244/support.

Acquista il mio nuovo libro, “Anche Socrate qualche dubbio ce l'aveva”: https://amzn.to/3wPZfmCDopo aver parlato a lungo della Francia, spostiamoci nell'area tedesca: lì il primo degli illuministi fu probabilmente Christian Wolff.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/dentro-alla-filosofia--4778244/support.

Mindent elsöprő karaoke buli Pajkaszegen – Így lepte meg Bazsó Zsófiát rtl.hu     2025-02-15 21:15:00     Film Torta András elhatározta, hogy egy meglepetésbulival lepi meg exfeleségét, Zsófiát a 43. születésnapja alkalmából. A szervezéssel Bazsót bízta meg, aki mellalakú lufikkal és egy gigantikus tortából kiugró sztriptíztáncossal lepte meg Pajkaszeg doktornőjét. Amikor a falu lakói már jócskán a pohár fenekére néztek, egy szenzációs karaoke bulival koronázták Abszint, a zöld tündér – Kalandos út a bolhapiacon talált kiskanáltól a múzeumig WMN     2025-02-15 17:06:00     Könyv Múzeum Ha kapnál egyszer egy fura alakú régi kiskanalat, te építenél rá egy múzeumot? A francia Marie-Claude Delahaye, aki eredeti szakmáját tekintve biológus, egy bolhapiacon talált tárgyba annnyira beleszeretett, hogy végül könyveket és egy komplett múzeumot is szentelt neki. Az auvers-sur-oise-i Abszint Múzeum alapítójával és tulajdonosával Kis Zsuzsa Újdonságok a Netflixen: 5 premierfilm és sorozat, amit a jövő héten nézhetsz Mafab     2025-02-15 17:08:02     Film USA Olimpia Netflix Kosárlabda Dokumentumfilm A tél utolsó hetei sem telnek unalmasan a Netflix háza táján. A bűnügyi dokumentumfilmek kedvelőinek érkezik az Amerikai gyilkosság: Gabby Petito, ami egy fiatal pár gyilkosságba torkolló történetét meséli el. Ezen kívül a Karnyújtásnyira az aranytól, ami elmeséli, hogyan készültek a tehetséges kosárlabdázók a 2024-es olimpiai játékokra. A hét egyi Egy szörnyes-dugós B-filmet Valentin-napra? – A szurdok-kritika Player     2025-02-15 17:39:07     Film Párkapcsolat Apple Valentin-nap Az Apple sem akarta kihagyni a szerelmesek napját, felkérte hát az Ördögűzés Emily Rose üdvéért, a Sinister és a Doctor Strange első része okán ismert Scott Derricksont, hogy Zach Dean forgatókönyvéből forgasson egy rendhagyó romantikus filmet Miles Teller és Anya Taylor-Joy főszereplésével. Az ötlet nem volt rossz, de a megvalósításba hiba csúszot Az Alkonyat vámpírja még mindig velünk van, és a MeToo-t is visszaverte 24.hu     2025-02-15 20:00:33     Film Közösségi média MeToo A közösségi médiában újraéledt az Alkonyat-dili. De miért? Hogyan egészíti ki az Alkonyat-sztorit az Edward szemszögéből írt, megkésett folytatás? Miért kapcsolódik össze félelem és vágy vámpír és ember kapcsolatában? Tarr Béla: A magyar film ma egy kényszerpályán mozog Telex     2025-02-15 18:41:47     Film Az egyik leghíresebb magyar filmrendező szerint a filmkészítést köteles támogatni a kormányzat és segíteni és megteremteni a normális munkafeltételeket. Visszatér Ben Affleck autista bérgyilkosa: itt A könyvelő 2. előzetese! Igényesférfi.hu     2025-02-16 06:04:16     Film Ben Affleck Autizmus Bérgyilkos Idén tavasszal folytatást kap a 2016-os év egyik legemlékezetesebb akcióthrillere, A könyvelő. Az Oscar-díjas Ben Affleck másodszor is eljátssza Christian Wolff, az autista matekzseni karakterét, de mellette az eredeti alkotógárda több kulcsfigurája is visszatér. Február 16-án történt kultura.hu     2025-02-16 00:02:00     Film USA Svájc Brazília Hitler Bruno Ganz 2019-ben ezen a napon halt meg Bruno Ganz svájci színész. Bruno Ganz 19 éves korában lépett először kamera elé, később olyan filmekben játszott, mint A brazíliai fiúk, a Berlin felett az ég, A mandzsúriai jelölt, A felolvasó vagy Az amerikai barát. Kiemelkedő alakítása volt Oliver Hirschbiegel A bukás – Hitler utolsó napjai című filmjének főszerepe Regőczy Krisztina és Sallay András: "Ha baj van, ma is egymást hívjuk először" Story     2025-02-16 08:00:15     Bulvár Párkapcsolat Jégtánc A világbajnok jégtánckettős nem csak Magyarország, az egész világ kedvencei voltak, hozzájuk hasonló páros azóta sem született itthon. Fegyelmezettségről, sikerekről és kudarcokról, szerelemről és barátságról meséltek. Elkezdődött a velencei karnevál Librarius     2025-02-15 18:00:42     Színpad Párkapcsolat Olaszország Karnevál A szerelmeseket várják a Szent Márk térre pénteken, ahol elkezdődött a március 4-ig tartó velencei karnevál, Casanova kora címen. 5 csavaros krimi a Netflixen, ami a te agyad is tuti megdolgoztatja port.hu     2025-02-16 07:50:00     Film Netflix Agatha Christie A Tőrbe ejtve, az Enola Holmes és a Halványkék szemek is az Agatha Christie-regények legszebb hagyományait követi. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Mindent elsöprő karaoke buli Pajkaszegen – Így lepte meg Bazsó Zsófiát rtl.hu     2025-02-15 21:15:00     Film Torta András elhatározta, hogy egy meglepetésbulival lepi meg exfeleségét, Zsófiát a 43. születésnapja alkalmából. A szervezéssel Bazsót bízta meg, aki mellalakú lufikkal és egy gigantikus tortából kiugró sztriptíztáncossal lepte meg Pajkaszeg doktornőjét. Amikor a falu lakói már jócskán a pohár fenekére néztek, egy szenzációs karaoke bulival koronázták Abszint, a zöld tündér – Kalandos út a bolhapiacon talált kiskanáltól a múzeumig WMN     2025-02-15 17:06:00     Könyv Múzeum Ha kapnál egyszer egy fura alakú régi kiskanalat, te építenél rá egy múzeumot? A francia Marie-Claude Delahaye, aki eredeti szakmáját tekintve biológus, egy bolhapiacon talált tárgyba annnyira beleszeretett, hogy végül könyveket és egy komplett múzeumot is szentelt neki. Az auvers-sur-oise-i Abszint Múzeum alapítójával és tulajdonosával Kis Zsuzsa Újdonságok a Netflixen: 5 premierfilm és sorozat, amit a jövő héten nézhetsz Mafab     2025-02-15 17:08:02     Film USA Olimpia Netflix Kosárlabda Dokumentumfilm A tél utolsó hetei sem telnek unalmasan a Netflix háza táján. A bűnügyi dokumentumfilmek kedvelőinek érkezik az Amerikai gyilkosság: Gabby Petito, ami egy fiatal pár gyilkosságba torkolló történetét meséli el. Ezen kívül a Karnyújtásnyira az aranytól, ami elmeséli, hogyan készültek a tehetséges kosárlabdázók a 2024-es olimpiai játékokra. A hét egyi Egy szörnyes-dugós B-filmet Valentin-napra? – A szurdok-kritika Player     2025-02-15 17:39:07     Film Párkapcsolat Apple Valentin-nap Az Apple sem akarta kihagyni a szerelmesek napját, felkérte hát az Ördögűzés Emily Rose üdvéért, a Sinister és a Doctor Strange első része okán ismert Scott Derricksont, hogy Zach Dean forgatókönyvéből forgasson egy rendhagyó romantikus filmet Miles Teller és Anya Taylor-Joy főszereplésével. Az ötlet nem volt rossz, de a megvalósításba hiba csúszot Az Alkonyat vámpírja még mindig velünk van, és a MeToo-t is visszaverte 24.hu     2025-02-15 20:00:33     Film Közösségi média MeToo A közösségi médiában újraéledt az Alkonyat-dili. De miért? Hogyan egészíti ki az Alkonyat-sztorit az Edward szemszögéből írt, megkésett folytatás? Miért kapcsolódik össze félelem és vágy vámpír és ember kapcsolatában? Tarr Béla: A magyar film ma egy kényszerpályán mozog Telex     2025-02-15 18:41:47     Film Az egyik leghíresebb magyar filmrendező szerint a filmkészítést köteles támogatni a kormányzat és segíteni és megteremteni a normális munkafeltételeket. Visszatér Ben Affleck autista bérgyilkosa: itt A könyvelő 2. előzetese! Igényesférfi.hu     2025-02-16 06:04:16     Film Ben Affleck Autizmus Bérgyilkos Idén tavasszal folytatást kap a 2016-os év egyik legemlékezetesebb akcióthrillere, A könyvelő. Az Oscar-díjas Ben Affleck másodszor is eljátssza Christian Wolff, az autista matekzseni karakterét, de mellette az eredeti alkotógárda több kulcsfigurája is visszatér. Február 16-án történt kultura.hu     2025-02-16 00:02:00     Film USA Svájc Brazília Hitler Bruno Ganz 2019-ben ezen a napon halt meg Bruno Ganz svájci színész. Bruno Ganz 19 éves korában lépett először kamera elé, később olyan filmekben játszott, mint A brazíliai fiúk, a Berlin felett az ég, A mandzsúriai jelölt, A felolvasó vagy Az amerikai barát. Kiemelkedő alakítása volt Oliver Hirschbiegel A bukás – Hitler utolsó napjai című filmjének főszerepe Regőczy Krisztina és Sallay András: "Ha baj van, ma is egymást hívjuk először" Story     2025-02-16 08:00:15     Bulvár Párkapcsolat Jégtánc A világbajnok jégtánckettős nem csak Magyarország, az egész világ kedvencei voltak, hozzájuk hasonló páros azóta sem született itthon. Fegyelmezettségről, sikerekről és kudarcokról, szerelemről és barátságról meséltek. Elkezdődött a velencei karnevál Librarius     2025-02-15 18:00:42     Színpad Párkapcsolat Olaszország Karnevál A szerelmeseket várják a Szent Márk térre pénteken, ahol elkezdődött a március 4-ig tartó velencei karnevál, Casanova kora címen. 5 csavaros krimi a Netflixen, ami a te agyad is tuti megdolgoztatja port.hu     2025-02-16 07:50:00     Film Netflix Agatha Christie A Tőrbe ejtve, az Enola Holmes és a Halványkék szemek is az Agatha Christie-regények legszebb hagyományait követi. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Ein Deutschlandfunk-Kommentar zur Abstimmung im Bundestag über den Unions-Antrag zur Migrationspolitik hat Widerspruch bei Dlf-Hörer Christian Wolff hervorgerufen. Über Debattenkultur diskutiert er mit Michael Watzke und Korbinian Frenzel. Von Sören Brinkmann

Hasta bien entrado el siglo XX, las ideas musicales se exponen de acuerdo con un desarrollo ordenado según una estructura previamente estudiada, escrita o planteada. Mediado el siglo, algunos compositores se acogen a una tendencia que deja margen al indeterminismo, la flexibilidad y el azar._____Has escuchadoAngelica Music. Exercise 10 (1973-1974) / Christian Wolff. Apartment House; Christian Wolff, melódica. I Dischi di Angelica (2015)Aus den sieben Tagen. Liaison (1968) / Karlheinz Stockhausen. Ensemble Musique Vivante; Diego Masson, director. Harmonia Mundi (1988)HPSCHD. Solo VII: For Harpsichord & Computer-Generated Sound Tapes (1967) / John Cage y Lejaren Hiller. Jukka Tiensuu, clave. Ondine (1999)Pithoprakta (1956) / Iannis Xenakis. Orchestre philharmonique du Luxembourg; Arturo Tamayo, director. Timpani (2008)_____Selección bibliográficaADORNO, Theodor W., “Vers une musique informelle”. En: Escritos Musicales I-III, vol. 16. Akal, 2006*BEHRMAN, David, “What Indeterminate Notation Determines”. Perspectives of New Music, vol. 3, n.º 2 (1965), pp. 58-73*BOULEZ, Pierre, “Alea”. Perspectives of New Music, vol. 3, n.º 1 (1964), pp. 42-53*CARDEW, Cornelius, Scratch Music. The MIT Press, 1974CHARLES, Daniel, “L'interprète et le hasard”. Musique en Jeu, n.º 3 (1971), pp. 45-51*DELIÈGE, Célestin, “Indétermination et improvisation”. IRASM, vol. 2 (1971), pp. 155-191HARBINSON, William G., “Performer Indeterminacy and Boulez's Third Sonata”. Tempo, n.º 169 (1989), pp. 16-20*JENSEN, Marc G., “John Cage, Chance Operations, and the Chaos Game: Cage and the I Ching”. The Musical Times, vol. 150, n.º 1907 (2009), pp. 97-102*MEDINA, Ángel, “Apuntes sobre la recepción de la música abierta en España”. Anuario Musical, n.º 51 (1996), pp. 217-232*MORO VALLINA, Daniel, “Aleatoriedad y flexibilidad en la vanguardia musical española”. Actas do I Encontro Iberoamericano de Jovens Musicólogos (2012), pp. 236-248: [PDF]NIETO, Velia, “La forma abierta en la música del siglo XX”. Anales del Instituto de Investigaciones Estéticas, vol. 30, n.º 92 (2008), pp. 191-203O'GRADY, Terence J., “Aesthetic Value in Indeterminate Music”. The Musical Quarterly, vol. 67, n.º 3 (1981), pp. 366-381*PEYROU, Mariano, Oídos que no ven. Taurus, 2022POLO PUJADAS, Magda y Josep Maria Mestres Quadreny, Pensamiento y música a cuatro manos: la creatividad musical en los siglos XX y XXI. Universidad de Murcia, Servicio de Publicaciones, 2015*REYNOLDS, Roger, “Indeterminacy: Some Considerations”. Perspectives of New Music, vol. 4, n.º 1 (1965), pp. 136-140*TRENKAMP, Anne, “The Concept of Alea in Boulez's Constellation-Miroir”. Music & Letters, vol. 57, n.º 1 (1976), pp. 1-10* *Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

THIS MOVIE RULES!!! Download the PrizePicks today & use code REJECTS to $50 instantly when you play $5! https://prizepicks.onelink.me/LME0/RE... The Accountant Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@thereelrejects?lang=en Twitter: https://x.com/thereelrejects Facebook: https://www.facebook.com/TheReelRejects/ With The Accountant 2 coming in 2025, Tara Erickson & John get a dose of stylish & methodical action w/ a surprising amount of heart & flavor as they give their FIRST TIME Reaction, Commentary, Analysis, Breakdown, & Full Movie Spoiler Review for the Action / Thriller from writer Bill DuBuque (Ozark) & Director Gavin O'Connor (Warrior) starring Ben Affleck (Zack Snyder's Justice League, Good Will Hunting, Daredevil) as Christian Wolff along with Jon Bernthal (The Punisher, Sicario, The Walking Dead), Anna Kendrick (Pitch Perfect, Twilight, Scott Pilgrim vs. The World), J.K. Simmons (Whiplash, Spider-Man, Red One), John Lithgow (Dexter, Buckaroo Banzai), Jeffrey Tambor (Hellboy, Arrested Development), Cynthia Addai-Robinson (The Lord of the Rings: Rings of Power), Jean Smart (Babylon, 24), & MORE! Tara & John REACT to all the Best Scenes & Most Exciting Moments including The Farm Fight Scene, Fighting Bullies Scene, Are You A Good Father? Scene, Brother vs. Brother Scene, Apartment Attack Scene, Assassin vs. Kill Squad Scene, Headshot Scene, & Beyond! Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

In "Monsieur Pierre geht online" stehen Vater und Sohn, Christian und Patrick Wolff, gemeinsam auf der Bühne. In "Habe die Ehre!" sind die beiden Schauspieler bei Hermine Kaiser zu Gast. Sie stellen die Komödie vor und ratschen über ihre Zusammenarbeit.

Alex and Benjamin talk about 18th century German philosopher Christian Wolff. Wolff suggested that there are reasons behind our motivations. Even a soldier who deserts his post is motivated to desert for a reason. Does that mean that rebels are motivated to rebel for reasons? And when two states are motivated to war with one another, does that mean that they both have reasons to go to war?

Architectural sound, understandings of freedom, and how do we end? The composer, improviser and performer discusses three important albums.Lucie's picks:Iannis Xenakis – La L​é​gende d'EerPauline Oliveros – The Tuning MeditationChristian Wolff – Changing The SystemLucie's recent solo album, Cave Acoustics, is out now via the labels mappa and Skupina. Lucie's website is here. Follow them on Instagram.Donate to Crucial Listening on Ko-fi: https://ko-fi.com/cruciallistening

In this episode of Backstage Jazz, musician Matt Smiley shares a few tracks with us from his upcoming double CD.   Matt Smiley is a bassist, composer, and educator who has performed in various musical settings over the last fifteen years. He has a bachelor's degree in music industry with a jazz studies minor from James Madison University and a Master of Music in jazz studies from the University of Northern Colorado.    An avid and enthusiastic musician, Smiley has performed nationally and internationally at universities nationwide and the Montreux, North Sea, and Montreal Jazz Festivals.    Currently, Matt resides in Fort Collins, Colorado, where he plays jazz weekly with the Subterraneans at Ace Gillett's. He has recently performed with legendary jazz musicians Terrell Stafford and Greg Osby and worked with composer Alvin Lucier. Matt has assisted Dr. Paul Elwood with the University of Northern Colorado's Open Space Music Festival for the last five years and worked with festival artists Stephen Drury, Christian Wolff, and Jean-Claude Risset.    Matt released Quartet Art on the Dazzle label in 2011, featuring David Pope on saxophone. Peaceful Contact Proved Elusive, with guitarist Alex Nauman, followed in 2014 as a limited-edition vinyl. Matt is featured on several Dazzle releases by artists Josh Quinlan, Annie Booth, and Ryan Fourt.  --- Send in a voice message: https://podcasters.spotify.com/pod/show/backstagejazz/message

(00:56) Kortere orlov rammer børns trivsel Ny forskning viser, at trivslen hos store skolebørn hænger sammen med hvor lang barselsorlo, v forældrene i sin tid holdt med dem. En af dem, der lige nu nyder godt af ændrede barselsvilkår er Christian Wolff, som jorunalist Sille Wulff Mortensen har talt med. Han nyder at være på barsel med sin søn Sylvester, der er lige knap 11 måneder - og han er sikker på, at tiden hjemme med barnet har betydning for trivslen.(07:42) Joe Bidens milliarder lokker grønne danske giganter vestpåDen amerikanske præsident Joe Biden har med sin historisk store støtteordning Inflation Reduction Act (IRA), som rummer ca. 2.600 mia. kr. til grønne teknologier, lokket europæiske virksomheder til. Siden september sidste år er der blevet investeret ca. 150 mia. kr. i USA mod 60 mia. kr. i Europa, fortæller klimaredaktør Jakob Martini.(13:49) Farvel til hjemmekontorerneDet skal være slut med at arbejde hjemme. Sådan lyder budskabet fra flere store amerikanske virksomheder, der nu vil have deres ansatte tilbage på kontorerne. Blandt dem, der ønsker mere liv i i kontorbygningerne, er de store spiller på Wall Street, beretter Bloomberg.I studiet: Journalist Sille Wulff Mortensen, klimaredaktør Jakob Martini og ESG-redaktør Signe Ferslev. Lydklip fra Bloomberg.Teknik og lyddesign: Kasper Søegaard og Anders Thykier.

Wir sprechen mit Dr.in Bettina Mielke und Prof. Dr. Christian Wolff. Mielke ist u.a. Vorsitzende Richterin am Oberlandesgericht Nürnberg und Leiterin der Abteilung für das Rechtsreferendariat und Staatsexamen. Sie forscht und publiziert seit über 20 Jahren in der Rechtsinformatik, insbesondere auch im Bereich Legal Tech. Wolff ist Professor für Medieninformatik und Dekan der Fakultät für Informatik und Data Science an der Universität Regensburg. Gemeinsam engagieren sie sich im LLM-und im LLB-Studiengang "Legal Tech" an der Universität Regensburg. Links: https://www.legaltech-ur.de/blog/trainers/dr-bettina-mielke-m-a/ https://www.uni-regensburg.de/sprache-literatur-kultur/medieninformatik/aktuelles/index.html https://www.legaltech-ur.de/ueberblick-llm-legal-tech/ https://www.uni-regensburg.de/rechtswissenschaft/fakultaet/studium/llb-digital-law/index.html https://twitter.com/LegalTechUniRgb

Axel Rudi Pell (Bochum; 27 de junio de 1960) es un guitarrista alemán de power metal neoclásico, reconocido por su paso por la agrupación Steeler y por su extensa carrera en solitario. Es considerado un guitarrista neoclásico, pues combina elementos de compositores de música clásica con heavy metal tradicional, técnica ejecutada igualmente por otros guitarristas como Yngwie Malmsteen, Vinnie Moore, Tony MacAlpine, Jason Becker, Marty Friedman, Randy Rhoads y Walter Giardino. Tras su salida de Steeler, Axel reclutó al bajista Volker Krawczak para que lo acompañara en su aventura como músico solista. Pell, Krawczak y los músicos Jörg Michael, George Hahn y el cantante y guitarrista estadounidense Charlie Huhn grabaron el álbum Wild Obsession en 1989. Dos años después, la banda conformada por Pell, Krawczak, Michael, el teclista Kai Raglewski y el cantante Rob Rock publica el álbum Nasty Reputation a través del sello Steamhammer/SPV.4​ A partir de ese momento los cambios en la formación empezaron a hacerse constantes, especialmente en el puesto de vocalista. Eternal Prisoner de 1992 incorpora al cantante de ascendencia puertorriqueña Jeff Scott Soto en reemplazo de Rob Rock.5​ La teclista Julie Greaux ingresa a la banda tras la salida de Kai Raglewski para la grabación de un nuevo álbum de estudio, titulado Between the Walls, en 1993. Dos años después la banda publica Made in Germany, un álbum en vivo grabado durante una presentación en la ciudad de Hamburgo el 4 de febrero de 1995 y otra en la ciudad de Bochum el día siguiente. En 1996 sale a la venta un nuevo álbum de estudio titulado Black Moon Pyramid, nuevamente bajo el sello Steamhammer/SPV y con la producción de Axel Rudi Pell y Ulli Pösselt. El tecladista Christian Wolff ingresa a la agrupación en reemplazo de Julie Greaux y participa en la grabación del álbum Magic de 1997. El cantante Jeff Scott Soto abandona la formación para dedicarse a un proyecto llamado Talisman junto al bajista sueco Marcel Jacob, dejando la vacante de vocalista abierta.6​ El cantante Johnny Gioeli, con experiencia previa en la banda de hard rock Hardline, ocupa el puesto para la grabación del álbum Oceans of Time de 1998.4​ Axel Rudi Pell en vivo en 2012. Dos años después, la formación compuesta por Pell, Gioeli y Krawzcak, con las incorporaciones del baterista Mike Terrana y el teclista Ferdy Doernberg publica The Masquerade Ball, primer producción de Axel Rudi Pell en el nuevo milenio. En 2002 sale a la venta el recopilatorio The Wizard's Chosen Few, compilando canciones de toda la carrera de la banda y algunas versiones de otras agrupaciones como Deep Purple y The Jimi Hendrix Experience.7​ Ese mismo año se publica el disco de estudio Shadow Zone, acompañado del directo Knights Live, publicado en octubre. La misma formación grabaría los álbumes Kings and Queens (2004), Mystica (2006), el disco de versiones Diamonds Unlocked (2007), Tales of the Crown (2008), The Crest (2010) y Circle of the Oath (2012), al igual que el directo Live on Fire de 2013

In this episode of our regular Q&A podcast we answer the seemingly simple question, what is ontology? We delineate three thinkers and three notions of the primary philosophical science, out of which only one qualifies as ontology. Those thinkers are Christian Wolff, Aristotle and St. Thomas Aquinas, whereas Wolff is the one who, in 18th Century, introduced ontology as a discipline in the "system of philosophical sciences". We proceed to demonstrate that ontology, as modern invention, is a far cry from what Aristotle and Aquinas considered inquiry into "being qua being" to be. Off course, there are number of random digressions into all kinds of related subjects, from traditional notion of genera/species relation, nature of ens universalis, Kant's blending of metaphysics with Wolffian system and more.

Mike Butler and Mike Field are teaming up with Ben Affleck to fight mercenaries and math on this episode of Forgotten Cinema as they discuss the 2016 action thriller, The Accountant, directed by Gavin O'Connor. Also starring Anna Kendrick, J.K. Simmons, Jon Bernthal, and Jon Lithgow, the films centers on Christian Wolff, a genius accountant who falls on the autism spectrum. Using a small-town CPA office as a cover, he makes his living as a freelance accountant for dangerous criminal organizations. To lay low, Christian takes on a state-of-the-art robotics company as a legitimate client, but as Wolff gets closer to the truth about a discrepancy that involves millions of dollars, Wolff finds himself using not only his mathematical genius, but his special ops military training, to get to the bottom of a huge corporate conspiracy and a surprising connection to his own past. Listen in as the Mikes discuss the interesting character of Christian Wolff, a character Affleck himself lists as one of his top 5 roles, as well as the action in the film, Jon Bernthal's continued unappreciated greatness, hopes for a sequel, behind the scenes facts and more! So, grab your popcorn and soda, please notice the exits to the left and right of you and settle down for https://www.forgottencinemapodcast.com/ (Forgotten Cinema).  00:00 - Introduction 01:47 - Film Summary 02:19 - Film Facts 07:36 - Film Discussion 35:05 - Critics Reviews 36:41 - Three Theory 38:16 - Favorite Quotes 42:17 - Why it's Forgotten 48:17 - Where to Find Us

Eli Keszler is a New York based producer, performer, and percussionist, known for grand art installations and inventive compositions. Informed by improvisation and experimental noise, Eli Keszler utilizes unique techniques to create inventive motions of sound."Roots to Grooves" is a production of SIGNL.https://www.signlradio.comhttps://www.instagram.com/signlradiohttps://www.twitter.com/signlradiohttps://www.facebook.com/signlradiohttps://www.mixcloud.com/signlhttps://open.spotify.com/user/96mhz6qfjoztxbl2dpm0uj903?si=aAZpsoEnRAKdx85kr1QWhg

Leibniz‘ Grundsatz der prästabilierten Harmonie hat auch für die Betrachtung der verschiedenen Kulturkreise seine Bedeutung. Leibniz beobachtet, dass auf der Gegenküste der Welt, im fernen China, in ähnlicher Weise nach Mitte und Maß, dem Ausgleich des Einen und Vielen gesucht wird wie in Europa. So interpretiert er das Buch Tao-Te-King des Lao-Tse („Weg-Tugend-Buch) als Gegenstück zu Aristoteles Ethik mit ihrer Suche nach Mitte und Maß. Alles soll nach Möglichkeit in einem Ausgleich stehen: So auch Pflicht und Glück, der natürliche und der sittliche Mensch, Tatsachenwahrheiten und ewige Wahrheiten. Im Geist des großen Leibniz haben Christian Wolff und Christian Thomasius im 18. Jahrhundert diese beeindruckende enzyklopädische Lehre systematisiert und weiterentwickelt.

Episode 64 Playlist Hugh Davies, “Shozyg I” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from 1968. 8:16 The Music Improvisation Company, “Tuck” from The Music Improvisation Company (1970 ECM). Electric Guitar, Derek Bailey; Live Electronics, Hugh Davies; Percussion, Jamie Muir; Soprano Saxophone, Evan Parker. Recorded on August 25th, 26th, 27th, 1970 at the Merstham Studios, London. 3:14 Gentle Fire, “Group Composition IV” (excerpt) from Explorations (1970 - 1973) (2020 Paradigm Discs). Recorded live At ICES 72 (The Roundhouse, London, 14th August 1972). Cello, Michael Robinson; Springboard, Hugh Davies; Performer, Gentle Fire; Recorder, EMS VCS3, Graham Hearn; Tabla, Richard Bernas; Trumpet, Cello, Stuart Jones. 4:33 Gentle Fire, “Edges” from Earle Brown, John Cage, Christian Wolff – 4 Systems, Music For Amplified Toy Pianos, Music For Carillon, Edges (1974 EMI Electrola). German recording of the Christian Wolff piece “Edges,” performed by Gentle Fire. Graham Hearn, Hugh Davies, Michael Robinson, Richard Bernas, Stuart Jones. 10:17 Hugh Davies, “Music for Bowed Diaphragms” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from October 7, 1977. 10:08 Hugh Davies, “Salad” from the National Sound Archive of The British Library. The file was produced in Davies' home studio and dates from February 19, 1977. Davies performs on four different egg slicers, two tomato slicers and one cheese slicer. 13:55 Hugh Davies, “Toads” from the National Sound Archive of The British Library. The recording dates from 1980. 5:50 Hugh Davies, “Spring Song” from the National Sound Archive of The British Library. The recording dates from 1980. 4:56 Borbetomagus, “Concordat 7” from Work On What Has Been Spoiled (1981 Agaric). Live Electronics, Hugh Davies; Guitar, Donald Miller; Saxophone, Don Dietrich, Jim Sauter. 4:57 Hugh Davies, “Porcupine” from Warming up with the Iceman (2001 GROB). Solo work from 2000. 5:08. Porcupine was a more recent instrument invented by Davies in 2000. It comprised a disc shaped contact microphone and some wires that create a glissandi when touched with a finger. 5:08 Hugh Davies, “From Trees and Rocks” from Tapestries: Five Electronic Pieces (2005 Ants). Music for an installation at the Diozesanmuseum in Cologne called Walkmen that ran from April to September of 2000. A work in which “all the sounds were related to the processes that would have been undergone in order to transforms trees and rocks into works of art, especially sawing and chiselling; to these sounds I added others which were produced by treating the tools themselves as if they were simple musical instruments” (Davies). This CD is noted for the generous and informative biographical notes by David Toop, a friend and sometimes collaborator of Davies. 9:49 Background music: Karlheinz Stockhausen, Mikrophonie I (excerpt) (1967 Columbia). A key work for which Davies contributed while he was working as an assistant to Stockhausen. Filters, Potentiometers, Hugh Davies, Jaap Spek, Karlheinz Stockhausen; Microphones, Harald Bojé, Johannes Fritsch; Tamtam, Fred Alings, Aloys Kontarsky. 13:02 Notes: Many of the works attributed to the National Sound Archive of The British Library are also available on the following commercial recording: Hugh Davies, Performances 1969 – 1977 (2008 Another Timbre), a UK CD The Hugh Davies Collection: live electronic music and self-built electro-acoustic musical instruments, 1967–1975. Researcher/scholar James Mooney, of the University of Leeds, UK, keeps the Davies flame alive with his contributions around Davies handmade instruments and music. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.  

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!John Cage, in full John Milton Cage, Jr., (born September 5, 1912, Los Angeles, California, U.S.—died August 12, 1992, New York, New York) was an American avant-garde composer whose inventive compositions and unorthodox ideas profoundly influenced mid-20th-century music.Cage's early compositions were written in the 12-tone method of his teacher Schoenberg, but by 1939 he had begun to experiment with increasingly unorthodox instruments such as the “prepared piano” (a piano modified by objects placed between its strings in order to produce percussive and otherworldly sound effects). Cage also experimented with tape recorders, record players, and radios in his effort to step outside the bounds of conventional Western music and its concepts of meaningful sound. The concert he gave with his percussion ensemble at the Museum of Modern Art in New York City in 1943 marked the first step in his emergence as a leader of the American musical avant-garde.Among Cage's best-known works are 4′33″ (Four Minutes and Thirty-three Seconds, 1952), a piece in which the performer or performers remain utterly silent onstage for that amount of time (although the amount of time is left to the determination of the performer); Imaginary Landscape No. 4 (1951), for 12 randomly tuned radios, 24 performers, and conductor; the Sonatas and Interludes (1946–48) for prepared piano; Fontana Mix (1958), a piece based on a series of programmed transparent cards that, when superimposed, give a graph for the random selection of electronic sounds; Cheap Imitation (1969), an “impression” of the music of Erik Satie; and Roaratorio (1979), an electronic composition utilizing thousands of words found in James Joyce's novel Finnegans Wake.Cage published several books, including Silence: Lectures and Writings (1961) and M: Writings '67–'72 (1973). His influence extended to such established composers as Earle Brown, Lejaren Hiller, Morton Feldman, and Christian Wolff. More broadly, his work was recognized as significant in the development of traditions ranging from minimalist and electronic music to performance art.From https://www.britannica.com/biography/John-Cage. For more information about John Cage:Previously on The Quarantine Tapes:Sonny Rollins about Cage, at 02:30: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-130-sonny-rollinsDwight Trible about Cage, at 12:10: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-109-dwight-tribleMeredith Monk about Cage, at 14:07: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-meredith-monk-054Edwin Schlossberg about Cage, at 04:15: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-040-edwin-schlossberg“Searching for Silence: John Cage's art of noise”: https://www.newyorker.com/magazine/2010/10/04/searching-for-silence“John Cage interview: ‘I gave up the notion of communication as impractical in my case'”: https://www.theguardian.com/music/from-the-archive-blog/2015/dec/08/john-cage-interview-november-1989

In this episode, I continue to trace the intellectual roots of the Metaverse and the current “toxic” moment in human history in which intellectual trends of the past have reached a culmination. I discuss the rationalist system of Descartes and Christian Wolff, who tries to form a scientia with reason alone. The age of Reason replaces the age of Faith by using reason alone, without revelation and faith, to gain full deductive cognition of reality. In Part III, I explore how Hume debunks the idea of causality which is central to the Newtonian system. Causality is not something metaphysically robust in the world and we can't seduce it rationally. Instead, causality is a psychological habit by which we associate events with no necessary logical connection. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

17th-20th Centuries We hear works by Bonifazio Graziani, Attilio Ariosti, Armand-Louis Couperin, Niccolò Paganini, Joseph Joachim Raff, Louis Vierne, and Christian Wolff. 148 Minutes – Weeks of July 05 and July 12, 2021

"Nunca te rindas", dice Keith LaMar desde la prisión, recluido desde hace 28 años en una celda de aislamiento del corredor de la muerte. El trompetista Adam O'Farrill ha compuesto un tema cuya recaudación va destinada al fondo legal de LaMar, que participa recitando su historia. En el horizonte, "Freedom First", el título del que será primer trabajo del preso junto a músicos como el pianista barcelonés Albert Marquès. (En este enlace puedes recuperar nuestra reciente conversación con Keith LaMar). "desde mi cadiera" Jesús Moreno nos propone la primera parte de un monográfico dedicado al contrabajista británico Dominic Lash. La primera se concentra en trabajos publicados durante este año 2021. En "Limulus", Lash lidera un cuarteto con Javier Carmona (batería), Ricardo Tejero (saxo alto) y Alex Ward (guitarra); "Discernment" es su encuentro con tres clásicos de la improvisación británica: John Butcher (saxos), John Russell (guitarra) y Mark Sanders (batería); "Local" recoge su encuentro en Nueva York con dos improvisadores estadounidenses: Joe Morris (guitarra) y Nate Wooley (trompeta); en "Exercises and explorations", Dominic Lash es uno de los intérpretes de la música de Christian Wolff. En el tiempo de los "Ritmos Latinos" de Anxo recupera la música de dos combos latinos en los que sobresalían los punteos de guitarra y a los que, además, rodea un halo de misterio. Desde Cuba, Wilson y su combo; desde Colombia, Julián y su combo. El "Jazz Porteño" de Alberto Varela está dedicado al cuarto trabajo de Barbie Martínez, "Here and now". Junto a la cantante, el pianista Francisco LoVuolo, el guitarrista Gonzalo Beraza, el contrabajista Walter Filipelli, el baterista Sebastián Groshaus y los saxofonistas Mauro Ostinelli y Federico Álvarez. Toda la información y derechos: http://www.elclubdejazz.com

Concluimos nuestra serie de cinco emisiones dedicadas a celebrar la aparición de “Ólobo”, un volumen de excepcional importancia en el ámbito editorial vinculado al arte sonoro y las músicas experimentales. Con el artista, investigador y profesor José Antonio Sarmiento como artífice, esta gruesa publicación compila en formato libro todos los contenidos aparecidos originalmente en la revista digital de arte sonoro del mismo título, que a partir del año 2000 se dedicó a estudiar el trabajo experimental de artistas que trabajan con la voz, el ruido, la acción musical o el radioarte, entre otras muchas posibilidades. Cada programa de esta serie radiofónica glosará los contenidos de uno de los cinco números de la revista reunidos en el libro que presentamos. Este volumen, ya disponible en librerías, ha sido recientemente publicado por la Universidad de Castilla – La Mancha, concretamente a través de su prestigioso Centro de Creación Experimental, vinculado a la Facultad de Bellas Artes (ubicada en la ciudad de Cuenca) y dirigido por José Antonio Sarmiento, que ha desempeñado allí desde hace décadas una fundamental labor magistral. El quinto de los números de la revista “Ólobo” no llegó realmente a publicarse, pero una serie de textos sí fueron editados y, en su caso, traducidos, y la nueva publicación en formato físico los recoge por vez primera. Así, en las últimas páginas de este volumen podemos leer los textos “Las pruebas de Hindemith para crear ‘piezas musicales específicas para gramófono’ en el contexto de una historia de las ideas de la música mecánica en el siglo XX”, de Martín Elste; “Música moderna en el disco gramofónico”, de H. H. Stuckenschmidt; “Por el oído, la música busca su séptimo sello”, de Ernesto Giménez Caballero —figura cuya recuperación debemos, en gran medida, a José Antonio Sarmiento— y “John Cage sobre la enseñanza”, de William Fetterman. En este último programa de la serie aprovechamos para retomar algunos textos pertenecientes a los números anteriores que, por diferentes razones, no obtuvieron suficiente atención en las emisiones previas. Junto a ellos, presentamos una selección de audiciones vinculadas a ellos: “Línea de abandono” y “Parlantes”, ambas de Manuel Rocha Iturbide; “Sinfonía de Sirenas # 5”, del artista conocido como Tres; finalmente, escuchamos la superposición de “Cartridge Music”, “Atlas eclipticalis” y “Winter Music”, todas ellas compuestas por John Cage, e interpretadas por David Behrman y Takehisa Kosugi (electrónica en vivo), Engharad Davies y Lina Lapelyte (violines), Anton Lukoszevieze (violonchelo), Rhodri Davies (arpa), Robyn Schulkowsky y Ram Gabay (percusión), todos ellos con la BBC Scottish Symphony Orchestra dirigida por Ilan Volkov, y John Tilbury, Frank Denyer, Aki Takahashi y Christian Wolff (pianos). En el inicio de cada uno de los programas de esta serie escuchamos, además, una versión del poema fonético “Karawane”, compuesto por el dadaísta Hugo Ball en 1916 y presentado en el contexto del Cabaret Voltaire. Ese poema incluye una palabra sin significado (o con todos los significados), “ólobo”, que José Antonio Sarmiento escogió para dar nombre a esta revista/libro. En este quinto y último episodio de nuestra serie, la interpretación de “Karawane” que escuchamos al inicio corresponde a Jerome Rothernberg. Escuchar audio

9 NİSAN 2021 DÜNYA TARİHİNDE BUGÜN YAŞANANLAR 1860 - Dünyada ilk kez bir ses kayıt altına alınabildi. 2003 - Irak'ın ABD önderliğindeki koalisyon güçleri tarafından işgalinin başlamasından birkaç hafta sonra Bağdat düştü. TÜRKİYE TARİHİNDE BUGÜN YAŞANANLAR 1932 - İlk kadın hakim Mürüvvet Hanım, Adana'da göreve başladı. 1936 - İstanbul Telefon Şirketi devletçe satın alındı. 1945 - Türkiye'de yerli ampul üretimi başladı. 1952 - Şehir Tiyatroları Müdürlüğüne, Orhan Hançerlioğlu getirildi. Hançerlioğlu, daha önce İstanbul Emniyet Üçüncü Şube Müdürü'ydü. 1979 - Türkiye'de ilk kez bir hastanın kulağına kıkırdak nakli yapıldı. BUGÜN DOĞANLAR 1802- Fin fizikçi, filolog ve şair - Elias Lönnrot dünyaya geldi. 1821 - Fransız şair Charles Baudelaire, doğdu. 1963 - Türk oyuncu Erdal Tosun, doğdu. BUGÜN ÖLENLER 1626 - İngiliz devlet adamı ve filozof  Sir Francis Bacon, hayatını kaybetti.   1754 - Alman filozof Christian Wolff, öldü.

Krimi · Die Pariser Polizei ist überfordert. Auguste Dupin, Vorbild für Detektivfiguren wie Sherlock Holmes, löst einen Doppelmord: Dank seiner unübertrefflichen Kombinationsgabe - und nach nur einmaliger Besichtigung des Tatorts. // Mit Horst Tappert, Erik Jelde, Christian Marschall, Christian Wolff, Wolf Euba, Fritz Straßner u.a. / Bearbeitung und Regie: Edmund Steinberger / BR 1965 // Aktuelle Hörspiel-Empfehlungen per Mail: www.hörspielpool.de/newsletter

Für die Liebe wagte Christine Neubauer alles. Nach knapp 10 gemeinsamen Jahren folgte nun die Hochzeit – und das heimlich. Claudelle Deckert sorgte diese Woche mit einem Shooting für den Playboy für Aufsehen. Besonders deshalb weil Tochter Romy mit dabei war. Emotional wird für Christian Wolff und Schauspielerin Helga Lehner. Kurz vor Weihnachten verloren sie ihren gemeinsamen Sohn. Tanja May, stv. Chefredakteurin von BUNTE, spricht in der neuen Folge über diese drei emotionalen Geschichten.

Join us as do some math, share a dull story about our prom dresses, and somehow make John Bernthal look bad, all while discussing the 2016 Affleck-led thriller ‘The Accountant’ at the behest of a patron. The Accountant is a 2016 American action-thriller film directed by Gavin O'Connor, written by Bill Dubuque and starring Ben Affleck, Anna Kendrick, J. K. Simmons, Jon Bernthal, Cynthia Addai-Robinson, Jeffrey Tambor, and John Lithgow. The storyline follows Christian Wolff, a certified public accountant with high-functioning autism who makes his living uncooking the books of criminal and terrorist organizations around the world that are experiencing internal embezzlement. We Watched A Thing is supported by Dendy Cinemas Canberra. The best Australian cinema chain showing everything from blockbusters to arthouse and indie films. Find them at https://www.dendy.com.au/ If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we’re worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.

Coffee Without Milk: The Ebb & Flow Arts Podcast Episode #006, w/ Adam Tendler World-renowned patriotic pianist Adam Tendler discusses the works and philosophies of John Cage, Christian Wolff, and Toru Takemitsu while lambasting censorship on Tumblr and delving into the rhythmic intricacies of nearly-lost composer Robert Moffat Palmer. Join us as we listen to recent performances and address the challenges of creating music and identifying with society and culture during the time of Covid.   Please check out all the works of Adam Tendler: http://adamtendler.com/ http://america88x50.com/bio.html https://www.youtube.com/user/TheDissonantStates   And pick up his latest books on Amazon: https://www.amazon.com/Adam-Tendler/e/B00HHFZGMS%3Fref=dbs_a_mng_rwt_scns_share   Produced by Ebb and Flow Arts and Maui Institute for Modern Music. (c) 2020 all rights reserved ebbandflowarts.org/podcast

Episode 12   David Tudor: From piano to electronics   The transition of a pianist to electronic music   David Tudor (1926-1996)   In which we listen to works created while Tudor transitioned from playing piano to composing works for homemade electronics.   Playlist Bo Nilsson, Quantitäten (1958), for “electronically fortified” piano. Recording from Swedish Radio made in 1960. This is an abbreviated performance of the work made for Swedish Radio. John Cage, Cartridge Music (1960). For amplified small sounds; also amplified piano or cymbal; any number of players and loudspeakers; parts to be prepared from score by performers. Recording by John Cage and David Tudor, Time Records (1963). John Cage, Variations II (1961), Parts to be prepared from the score, for any number of players, using any sound-producing means. Piano and electronics by David Tudor. Recorded in Japan in 1962. Christian Wolff, For 1, 2, or 3 People (1964), Piano by David Tudor. Recorded live by KPFA Radio in 1965 at the San Francisco Museum of Art. David Tudor, Bandoneon ! (A Combine) (1966), for bandoneon and live electronics. Recorded live in October 1966 at E.A.T.'s at Nine Evenings: Theatre and Engineering. From the collection, The Art of David Tudor released by New World Records and Radio Bremen.   The Archive Mix in which I conclude the podcast by playing two additional tracks at the same time, to see what happens. This time, I am once again drawing up David Tudor and John Cage from the Folkways recording in 1959 of the lecture Indeterminacy. John Cage and David Tudor, Indeterminacy: New Aspect of Form in Instrumental and Electronic Music, the first three minutes of the lecture recorded in 1959 for Folkways Records. John Cage and David Tudor, Indeterminacy: New Aspect of Form in Instrumental and Electronic Music, the last three minutes of the lecture recorded in 1959 for Folkways Records.   Read my book: Electronic and Experimental Music (sixth edition), by Thom Holmes (Routledge 2020).   Contact Composers Inside Electronics, c/o John Driscoll and Phil Edelstein, longtime Tudor associates beginning in the 1970s for a history of the group and updates about their ongoing activities.   Read You Nakai's new book about Tudor: Reminded by the Instruments: David Tudor's Music(Oxford 2020)   Full disclosure: I work for Oxford University Press by day, although not in the trade book division that has published You Nakai's new book.

New York, anni '50. In una città divenuta culla di nuovi movimenti artistici rivoluzionari tra arte figurativa, musica e scrittura, un giovane musicista entrò in contatto con la scena culturale della Grande Mela, confrontandosi, per citarne alcuni, con i compositori Earle Brown e Christian Wolff, i poeti e letterati Alfredo de Palchi e Samuel Beckett e i pittori Franz Kline e Jackson Pollock. In particolare, fu l'incontro con il pionere del suono John Cage a mutare radicalmente la sua concenzione della musica. Quel giovane era Morton Feldman, un compositore che scardinò i modelli della temporalità e giunse progressivamente a concepire il Tempo stesso come ingrediente strutturale delle sue opere. Una struttura successivamente definita "verticale", in cui l'esibizione del suono per quello che è, mostrandolo nella sua completezza, era uno degli approcci principali della sua musica, proprio come avvenne in campo artistico con l'astrattismo. Attraverso la voce dell'autore di questa serie podcast Michele Selva, conosciamo uno dei compositori più anti conformista del XX secolo in una narrazione intervallata ad ascolti di alcune delle sue opere più significative, in cui si cerca di porre l'attenzione non solo sul suono in sé ma su una dimensione quasi sempre esclusa dalla musica: lo spazio. Immagine tratta da Francesco Clemente - Morton Feldman, 2014. Tutti i diritti riservati. Regia di Alessandro Renzi Registrato durante la quarantena di marzo 2020 in abitazioni private.

The Roulette Tapes - David Behrman: Nectar & Noise Composer David Behrman (Sonic Arts Union, Merce Cunningham) describes his unique flavor of electronics with examples covering three decades. With appearances by Takehisa Kosugi, Jon Gibson, Cleek Shrey, and a moment with Christian Wolff. https://roulette.org/

Composer David Behrman (Sonic Arts Union, Merce Cunningham) describes his unique flavor of electronics with examples covering three decades. Appearances by Takehisa Kosugi, Jon Gibson, Cleek Shrey, and a moment with Christian Wolff. Photo: Maria Ludovici.

This week, I have the incredible honor of welcoming renowned pianist Ursula Oppens to the show. A legend among American pianists, Ursula is widely admired for both her original and perceptive readings of new music, and for her knowing interpretations of the standard repertoire. As you'll hear in the episode, she's an incredibly passionate and wise musician!  Her and I covered several topics, from the reality of a career in music today, to how she approaches learning repertoire, and how she's stays focused in the practice room! In this episode, Ursula expands on: Her love of new music and how it developed early on in her life How she approaches bringing new music to life Why she doesn't think musicians should have a niche but should, instead, be interested in learning Her view of the musical landscape of today What improvisation can bring to our playing How she loves practicing (and I love that she said that so much!) How mental and muscle memory develop together Why she thinks it's important to memorize music in order to learn it better Her strategies to find energy, motivation, and focus to practice Why flexibility is a crucial skill to develop How a well-rounded education is also very helpful Her very wise piece of advice for young musicians Ursula is a force of nature and very generous with her insight. I know you'll love this discussion!     The Mind Over Finger Podcast on YouTube: https://www.youtube.com/channel/UCtQSB1IVNJ4a2afT1iUtSfA/videos   Sign up for my newsletter to get your free guide to a super productive practice using the metronome!  This guide is the perfect entry point to help you bring more mindfulness and efficiency into your practice and it's filled with tips and tricks on how to use that wonderful tool to take your practicing and your playing to new heights! TURN THE METRONOME ON AND START PRACTICING BETTER AND LEARNING FASTER RIGHT NOW!  GET YOUR FREE METRONOME GUIDE TODAY! Click HERE or visit www.mindoverfinger.com!   MORE ABOUT URSULA: Website: https://colbertartists.com/artists/ursula-oppens/ YouTube channel: https://www.youtube.com/channel/UCqj7e-6dIIBw2OkKmHxYItw   Ursula Oppens, a legend among American pianists, is widely admired particularly for her original and perceptive readings of new music, but also for her knowing interpretations of the standard repertoire. No other artist alive today has commissioned and premiered more new works for the piano. A prolific and critically acclaimed recording artist with five Grammy nominations, Ms. Oppens most recently released a new recording of Frederic Rzewski's The People United Will Never Be Defeated, nominated for a Grammy in 2016, and Piano Songs, a collaboration with Meredith Monk. Earlier Grammy nominations were for Winging It: Piano Music of John Corigliano; Oppens Plays Carter; a recording of the complete piano works of Elliott Carter for Cedille Records (also was named a “Best of the Year” selection by The New York Times long-time music critic Allan Kozinn); Piano Music of Our Time featuring compositions by John Adams, Elliott Carter, Julius Hemphill, and Conlon Nancarrow for the Music and Arts label, and her cult classic The People United Will Never Be Defeated by Frederic Rzewski on Vanguard. Ms. Oppens recently added to her extensive discography by releasing a two-piano CD for Cedille Records devoted to Visions de l'Amenof Oliver Messiaen and Debussy's En blanc et noir performed with pianist Jerome Lowenthal. Over the years, Ms. Oppens has premiered works by such leading composers as John Adams, Luciano Berio, William Bolcom, Anthony Braxton, Elliott Carter, John Corigliano, Anthony Davis, John Harbison, Julius Hemphill, Laura Kaminsky, Tania Leon, György Ligeti, Witold Lutoslawski, Harold Meltzer, Meredith Monk, Conlon Nancarrow, Tobias Picker, Bernard Rands, Frederic Rzewski, Allen Shawn, Alvin Singleton, Joan Tower, Lois V Vierk, Amy Williams, Christian Wolff, Amnon Wolman, and Charles Wuorinen. As an orchestral guest soloist, Ms. Oppens has performed with virtually all of the world's major orchestras, including the New York Philharmonic, the Boston Symphony Orchestra, the Los Angeles Philharmonic, the American Composers Orchestra, the Boston Modern Orchestra Project (BMOP), and the orchestras of Chicago, Cleveland, San Francisco, and Milwaukee. Abroad, she has appeared with such ensembles as the Berlin Symphony, Orchestre de la Suisse Romande, the Deutsche Symphonie, the Scottish BBC, and the London Philharmonic Orchestras.  Ms. Oppens is also an avid chamber musician and has performed with the Arditti, Cassatt, JACK, Juilliard, and Pacifica quartets, among other chamber ensembles. Ursula Oppens joined the faculty of the Mannes College of Music in the fall of 2017, and is a Distinguished Professor of Music at Brooklyn College and the CUNY Graduate Center in New York City. From 1994 through the end of the 2007-08 academic year she served as John Evans Distinguished Professor of Music at Northwestern University in Evanston, IL. In addition, Ms. Oppens has served as a juror for many international competitions, such as the Concert Artists Guild, Young Concert Artists, Young Pianists Foundation (Amsterdam), and Cincinnati Piano World Competition.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/    

This coffee break continues with music infused with mechanical sounds beginning with Toccata for Percussion Instruments by Carlos Chaves. Then we veer into how traditional instruments can be used to make nontraditional sounds in the surprising String Quartet #1, "Protestation Quartet" by Gloria Coates. We push the sounds of artificially altered sounds in Christian Wolff's For Piano with Preparations. We sing the body electric with David Borden's hip moog-infused Droneland, then finish with the pulsating Piano Sonata no. 8 by Laurie Altman. Here is a discussion with the composer Laurie Altman with Clipper Erickson (the performer on the last piece) about the collaborative process. https://www.youtube.com/watch?v=NWh6u4zjAEk Contact the show at yccb@mauriceriverpress.com

Composers Recordings, Inc (also known as CRI) was founded in 1954 by Otto Luening, Douglas Moore and Oliver Daniel. The label's mission was the discovery, distribution and preservation of the finest in contemporary American music. Hundreds of American composers had their first recording released on CRI, making the label a mainstay of career development for several generations of composers — over 600 full-length recordings were released by CRI on LP, cassette and CD. CRI was also particularly successful in recording important talents early in their careers: of the thirty-seven Pulitzer Prize-winning composers on the label, twenty-seven were recorded by CRI before they won the prestigious award. The episode features: Charles Dodge, The Serpent, Space Guitars, James Tenney, Alice Shields, Priscilla Mclean, Earle Brown, Christian Wolff and Frederic Rzewski.

Christian Wolff is a math savant with more affinity for numbers than people. Behind the cover of a small-town CPA office, he works as a freelance accountant for some of the world's most dangerous criminal organizations. With the Treasury Department's Crime Enforcement Division, run by Ray King, starting to close in, Christian takes on a legitimate client: a state-of-the-art robotics company where an accounting clerk has discovered a discrepancy involving millions of dollars. But as Christian uncooks the books and gets closer to the truth, it is the body count that starts to rise.

Joining us this week is Doug Perkins.  Doug has commissioned and premiered over 100 pieces and works with such composers as David Lang, Steve Reich, Paul Lansky, John Luther Adams, Nathan Davis, Larry Polansky, Christian Wolff, Glenn Kotche, Sofia Gubaidulina, and Tristan Perich. He founded the So Percussion and the Meehan/ Perkins Duo, and performs regularly with Signal, eighth blackbird, the Chicago Symphony’s MusicNOW, and others.  He currently teaches at The Boston Conservatory.Watch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and Hello 1:15 What's up?  Being the Dept. Chair?      3:27 Where/how did you fall in love with drums?  7:16 TBC merging with Berklee?  9:44 New Music Gathering in Boston?     13:41 Casey: What's the sound?  Acoustic Dispersion.  Massive and  excellent laser sound/laser tag tangent 26:00 Getting big projects off the ground?  Chosen Vale percussion  seminar?  35:09 Ben:  Bang On a Can -Julia Wolfe and Michael Gordon   47:10 Doug's podcast series, 5 Days With Doug.    50:43 How you see electronic music as it relates to percussion?

Let the In Reel Deep Podcast take you back to the glory days of September and October of 2016, when directors Clint Eastwood and Gavin O'Connor brought us Sully and The Accountant, respectively. Why are we revisiting a Tom Hanks pilot biopic and Ben Affleck's autistic math whiz/killing machine? Because we love slightly bad, slightly good movies, and it doesn't get more bad/good than these two. So join us, friends, as we talk Chesley "Sully" Sullenberger and Christian Wolff until we're blue in the face.

Adam's got mixed emotions about this one... and possibly questionable credit. Ben Affleck plays Christian Wolff, a mathematics savant with more affinity for numbers than people. Using a small-town CPA office as a cover, he makes his living as a freelance accountant for dangerous criminal organizations. With a Treasury agent (played by J.K. Simmons) hot on his trail, Christian takes on a state-of-the-art robotics company as a legitimate client. As Wolff gets closer to the truth about a discrepancy that involves millions of dollars, the body count starts to rise.

国学新知听友群开通啦！ 只要加wx：guoxuenew，写上“姓名+所在城市”，就会被邀请进群，本群是专辑听众的互动平台，还会有专辑主讲人的答疑解惑，国学新知会定期推送最新的音频视频节目。1721年，克里斯蒂安•沃尔夫（Christian Wolff，1679–1754），德国18世纪上半叶最重要的启蒙运动哲学家，发表了轰动一时的以中国人实践哲学为主题的演讲，他本人则因此次演讲被驱逐出普鲁士长达十七年。昔日欧洲启蒙运动的标志性事件，早已被人们有意或无意地遗忘了。在近三百年后的今天，让我们来重温这次演讲事件。

Sorti en novembre 2016, Mr. Wolff est un film réalisé par Gavin O'Connor avec Ben Affleck, Anna Kendrick, J. K. Simmons et John Lithgow. Synopsis : petit génie des mathématiques, Christian Wolff est plus à l'aise avec  les chiffres qu'avec les gens. Expert-comptable dans le civil, il travaille en réalité pour plusieurs organisations mafieuses parmi les plus dangereuses au monde. Lorsque la brigade anti-criminalité du ministère des Finances s'intéresse d'un peu trop près à ses affaires, Christian cherche à faire diversion : il accepte de vérifier les comptes d'une entreprise de robotique ayant pignon sur rue. Problème : la  comptable de la société a décelé un détournement de fonds de plusieurs millions de dollars. Tandis que Christian épluche les comptes et  découvre les rouages de l'escroquerie, les cadavres s'accumulent… Une archive proposée par Les Aventuriers des Salles Obscures. Un podcast produit par Le Quotidien du Cinéma.    Les  Aventuriers des Salles Obscures est un magazine consacré au cinéma qui  est diffusé chaque samedi de 14h à 15h sur Radio Campus Lille (106.6 FM -  sur le net : https://www.campuslille.com).  

Kant podcast   Welcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have defined rhetorical history. Today is a re-record from when we were doing our "villians of rhetoric" series, but since we just recently did an episode where I apologized for being too hard on Kant, here's the original castigation. Enjoy!     Today we continue our podcast series on villians of rhetoric with Kant. As in Immanual Kant, and not ‘I can’t stnd him” I’ve actually been to Kant’s hometown, Kohnisberg, which is now Kaliningrad Russia. And when I say Kant’s hometown, I mean the town where he was born, studied and died. In his whole life he never even traveled more than 10 miles fromKonigsberg. He might not have been much of a traveler, but he had a spectacular philosophy career. He was apopular teacher and had success in fields of physics and natural science, but he didn’t really get into philosophy, hard core philosophy, until he was middle aged. And the emphasis is on “hard.” His critique of pure reason was 800 pages and dense dense philosophy, even for German philosophers. It wasn’t exactly flying off the shelves. But Kan revised it in a 2nd edition and eventually his philosophical work became popular. You know, for German philosophy. His ideas about Enlightenment were controversial, and he had to skirt censorship and even the King’s criticism. His disciples battled his detractors and Kant became the most important German philosopher since Christian Wolff and Gottfried Wilhelm von Leibniz. His ideas are quintessentially Enlightenment: agnostic, rationalistic, and committed to individual inquiry of philosophy instead of relying on tradition, including the classical tradition. Kant suggests that there is a thing-in-itself that exists out the in world, but that we are only able to encounter it through our senses and experiences.   Also, he didn’t like rhetoric.   And, brother won’t he let you know it. Rhetoric, he says “merits no respect whatever” because of several complaints: first, that rhetoric is just style. Kant says in the crituqe of judgment athat rhetoric is only “the art of transacting a serious business of the understanding as if it were a free play of the imagination (V 321), In this he makes the same complaint against rhetoric that some of our other villains—Ramus and Montaigne—have made: rhetoric is nothing more than style. By removing invention from the canons of rhetoric and focusing only on style, Kant can focus more on his idea of truth being something just out there rather than something constructed socially. As scholar Robert J Dostal says, “With Kant rhetoric is reduced to a matter of style—dispensable in serious philosophical matters. The requirement [of rhetoric] that one know men’s souls is eliminated in view that it is sufficient merely to speak the truth” (235).   Kant’s other complaint, like Agrippa, Jewel, Patrizi and Hobbes is that rhetoric is immortal. When Kant reads the classical rhetoricians he feels an “unpleasant sense of disapporival” because he finds rhetoric “an insidious art that knows how, in matters of moment, to move men like machines to a judgement that must lose all its weight with them in calm reflection” (V 327). In other words, if people would just sit down and think, really think like a philosopher, they’d come to the right conclusion, but these nasty rhetors mislead them with their tricky words. In this sense he defines rhetoric like this “Rhetoric, so far as this is taken to mean the act of persuasive, ie the act of misleading by means of a beautiful illusion ” Kant wasn’t the only Enlightenment philopher to criticize rhetoric. Descrates points out that you don’t need to study rhetoric to be a good speaker because “those who reason most cogently, and work over their thoughts to make them clear and intelligible are always the most persauve even if they … have never studied rhetoric.” Like Kant, Descartes believes that if you just speak the truth you don’t need rhetoric. Kant wan’t alone in thinking that rhetoric was dangerously misleading, either. John Lock wrote that “all the art of rhetoric […] are for nothing else but to insinuate wrong ideas, move the passions and thereby mislead the judgment and so indeed are perfect cheat” So Kant had good company in disliking rhetoric. But can Kant be reconciled to a sympathetic view of rhetoric?   Scott Stroud thinks so. Stroud, who works here at the University of Texas (hook ‘em horns) is the author of a book coming out in October called Kant and the Promise of Rhetoric that aims to rehabilitate Kant to rhetoric. He claims that Kant didn’t really have the same definition of rhetoric which we have—he too, was influenced by villains of rhetoric like Plato and Ramus, and when he says he hates rhetoric, he means he hates something different. Since the book hasn’t come out yet and my Delorian is out of gas, I can’t tell you all of the arguments that Stroud will make in Kant and the promise of rhetoric, but I can tell you what I’ve gleaned from his earlier articles. One of them goes in the back door of rhetoric but looking at education. In 2011, Stroud’s article “Kant on education and the rhetorical force of the example” approaches a possible Kantian rhetoric through Kant’s ideas on education.   Kant says he hates rhetoric, but he loves education and was looking for a way to teach without coersing. So remember how Kant called rhetoric a “beautiful illusion”? Stroud argues that what Kant is objecting to is what Kant else where calls the “aim of win[ning] minds over to the advantage of the speaker before they can judge and to rob them of their freedom” (5:327). In this senese, Stroud says that Kant isn’t anti-rhetoric, but anti-bad rhetoric. The word rhetoric had been so pejorativized by Kant’s time that it came to be synonymous with manipulation and in opposition to individual consideration. So earlier, when we said that Kant was all about the freedom to think without the contraints of tradition? This is that same concern. As Stroud puts it, “What Kant is objecting to is the fact that such rhetorical deception moves people without their choosing the maxims of action, or without an accurate knowledge of what principle they are acting.”   Using illustriative examples, though, can enable the student (or the audience member) to think for themselves. Again, from Stroud, “Kant did not fear the skillful orator. He feared the skillful and non-moralized orator. Examples employed by a cultivated rhetor (a teacher, a preacher, etc.) are engaging because they partake in the lively form of narrative and they readily make themselves available for moral judgment.” Through the educational example, Stroud rehabilitates Kantian opposition to rhetoric. “The way examples operate in Kant's educative rhetoric is by evoking the experience of transitioning from the prudential stage to the moral stage of development in the subject's interaction with the example at hand.” Whether young students or adult audience members, these subjects can be taught without being coersed.   So maybe Kant isn’t truly a villain of rhetoric, but a victim of other villains who made rhetoric such a dirty word that he couldn’t imagine a rhetoric that could be moral and individually affirming. A rhetoric that could be called a Kantian rhetoric.  

On today's episode I talk to avant-garde violin duo String Noise. For over half a decade, Conrad Harris and Pauline Kim, the husband/wife violin duo comprising String Noise, have built a reputation as relentless contemporary music advocates with a punk sensibility. They've done this through their covers of bands like Deerhoof, Bad Brains, Black Flag and Minutemen and through their classical performances, the two having premiered works by composers like Christian Wolff, John King, Phill Niblock, and John Zorn. String Noise has released an EP on Northern Spy Records called The Book of Strange Positions and are currently recording a full-length album. This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.

"Incidental Music" | "Keyboard Miscellany" | Christian Wolff (Klavier)

Christian Wolff is widely acknowledged as one of the most important American composers of the 20th century. He was born in 1934 in Nice, France, and has lived in the U.S. since 1941. He studied piano with Grete Sultan and, briefly, composition with John Cage. His association and friendship with Cage and with Morton Feldman, Earle Brown, and David Tudor helped set the direction of his work, as did later association with Frederic Rzewski and Cornelius Cardew. Since 1952 he has been musically connected to Merce Cunningham and his dance company. In addition to his composing (over 200 works to date) he has been a sometime performer and improviser with, among others, AMM, Larry Polansky, Kui Dong, Keith Rowe, Christian Marclay, Takehisa Kosugi, and Steve Lacy. His music is published by C.F. Peters and much of it as been recorded. Academically trained as a classicist, he taught at Harvard from 1963 to 1970, and at Dartmouth College from 1971 to 1999, in the music and classics departments. He is currently a full-time independent musician.

A focus on Louth Contemporary Music Society with contributors Eamonn Quinn, Paul Griffiths, Marino Formenti and Christian Wolff

Institute of Musical Research Prof. Christian Wolff in conversation with Richard Bernas [COMPOSER] Christian Wolff The distinguished composer Prof. Christian Wolff talks with the conductor Richard Bernas about his work and his contemporaries:...

Where does the ear meet the eye? “Seeing and Illustrating Music” includes the voices of Cretien van Campen, Ben Street, Sherry Turner DeCarava, Chia-Jung Tsay, Richard Brody, Christian Wolff, Ryan Vigil, Robert Simpson, Jonathan Sterne, Carlene Stevens, Patrick Feaster, Karen Topp, Eric Wahlforss, Nicholson Baker, Berthold Hoeckner, Petr Janata. Produced by Zack Ezor, Conor Gillies, Qainat Khan, and Dan Mauzy. Special thanks to Deanna Archetto and Tom Richards for providing audio from the Daphne Oram Collection at Goldsmiths, University of London. Editing help from Katherine Gorman and Erika Lantz. Artwork by Robert Beatty. From WBUR, Boston’s NPR News Station.

Institute of Musical Research Prof. Christian Wolff in conversation with Richard Bernas [COMPOSER] Christian Wolff Supported by: Institute of Musical Research, Filming and Editing: David Lefeber Executive Producer: Paul Archbold © 2014 Me...

Institute of Musical Research Prof. Christian Wolff lecture: Experimental Music [COMPOSER] Christian Wolff Supported by: Institute of Musical Research, AHRC Research Centre for Musical Performance as Creative Practice, Friends of the IMR Fil...

Sein Sohn Patrick Wolff trat in die Fußstapfen seines Vaters. 1997 stand er mit ihm zum ersten Mal in der ZDF-Serie "Forsthaus Falkenau" gemeinsam vor der Kamera. Diesem Auftritt folgten zahlreiche weitere Fernseh-Engagements. Den größten Erfolg feierte Patrick Wolff bislang mit der ZDF-Serie "Die Rettungsflieger". Wenn alles läuft wie geplant, dann beginnen im Sommer 2012 die Dreharbeiten für seinen eigenen Kinofilm mit dem Titel "Jackpot". Es gab viel zu erzählen und so gibt es nächste Woche gleich den zweiten Teil. Infos unter: www.patrickwolff.net

Christian Wolff absolvierte die renommierte Berliner Max-Reinhardt-Schule und wurde danach in kürzester Zeit zu einem der beliebtesten Jungfilmstars der 50er Jahre. Auch auf der Bühne konnte der Schauspieler schon früh seine Vielseitigkeit unter Beweis stellen. In den 70er-Jahren begann Christian Wolffs TV-Karriere mit Serien wie "Derrick", "Hamburg Transit" oder "Nesthäkchen", aber auch mit Courths-Mahler-Verfilmungen und Ende der 80er-Jahre mit der ZDF-Vorabendserie "Forsthaus Falkenau". Doch auch während und nach seiner Zeit als Förster Rombach stand Christian Wolff immer wieder vor der Kamera. Daneben arbeitet er im Hörspielund im Synchronstudio. So lieh der Schauspieler berühmten Kollegen wie beispielsweise Pierre Brice, Alain Delon und Anthony Perkins seine Stimme.

New World Records We will be featuring New World Records in today's episode. New World started in 1975; they were given a grant from the Rockefeller Foundation with a mandate to produce a 100-disc anthology of American music. New world continues to preserve neglected music of the past and support the creative future of American music with over 400 recordings, representing up to 700 American composers. Rick Benjamin from "Black Manhattan: Theater and Dance Music of James Reese Europe, Will Marion Cook, and Members of the Legendary Clef Club" (New World Records) Buy at iTunes Music Store More On This Album Theater and Dance Music of James Reese Europe, Will Marion Cook, and Member of the Legendary Clef Club The Paragon Ragtime Orchestra Rick Benjamin, director The Clef Club of New York City, Inc. was a fraternal and professional organization for the advancement of African-American musicians and entertainers; all of the composers on this recording were members or closely affiliated with the Club. The "Clef Club" was founded toward the end of 1909 in New York by James Reese Europe and his associates. Their mission to highlight the value, dignity, and professionalism of African-American performers was a great success and did much to change racial attitudes at all levels of white society. It quickly became a "who's who" of early twentieth-century black music and show business. With its reputation for reliability, gentility, and quality performances, the Clef Club soon gained the favor of the loftiest of New York's white society; it became the very height of fashion to announce that one had secured a genuine "Clef Club Orchestra" for an upcoming social event. The composers featured on this revelatory recording represent the cream of Black Bohemia's musical life-the movers and shakers who paved the way for the music of the better remembered "Harlem Renaissance" of the 1920s. And while their names are obscure today, all once enjoyed national reputations in white America as well, feeding its burgeoning interest in black music, theater, and dance. Taken altogether, the talent, persistence, cooperation, and courage of these pioneers is an amazing American story that deserves to be better known. The recording features nineteen works by ten composers and is accompanied by a 40-page booklet. In addition to those by Europe and Cook, highlights include works by Will Vodery, an acknowledged influence on Ellington, and the first instrumental rag ever published, Sambo: A Characteristic Two Step March (1896), by Will Tyers. Tom Varner from "Tom Varner: Window Up Above" (New World Records) Buy at iTunes Music Store More On This Album The Window Up Above: American Songs 1770-1998 Tom Varner, French horn; Pete McCann, guitar; George Schuller, drums; Lindsey Horner, bass; Mark Feldman, violin; Dave Ballou, trumpet; Steve Alcott, bass; Thirsty Dave Hansen, vocals "I wanted to do something different for this record. Instead of playing my own compositions, I wanted to simply explore a variety of songs that have an inner resonance, whether from family, religion, nation, or culture. " - Tom Varner What Tom Varner has attempted on The Window Up Above is nothing less than a survey of the whole American song book, a millenium review of the last three centuries-and he succeeds brilliantly. Every song he has chosen has that American "thing," and his approach to every song is patently jazz, even where he chooses to play the melody "straight" to let its qualities shine through. Highlights abound: The witty, off-center de- and reconstruction of the Revolutionary and Civil War smash hits "Stone Grinds All," "When Jesus Wept," "Kingdom Come, " and "Battle Cry of Freedom" will forever change the way you hear them; his understated, heartfelt renditions of "Lorena," "All Quiet on the Potomac," and "There is a Balm in Gilead" would make a stone weep; to say nothing of his splendid reimaginings of standards like "Over the Rainbow" and "When the Saints Go Marching In." Even Bruce Springsteen gets the treatment, his "With Every Wish" joining George Jonesís "The Window Up Above," Hank Williams's "Ramblin' Man,"(check out Mark Feldman's and Varner's hair-raising solos and closing duet) and Tammy Wynette's "Till I Get it Right" from the country canon. In Varnerís unique arrangements, every song on this collection emerges freshly minted. Once heard, not soon forgotten. Music Amici, Charles Yasskyfrom "Ben Johnston: Ponder Nothing"(New World Records) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Ponder Nothing, Septet, Three Chinese Lyrics, Gambit, Five Fragments, Trio Music Amici Ben Johnston's (b 1926) music shows the confluence of several traditions of music-making that have flourished within the United States. In the 1950s his output was characterized by the neoclassicism of his teacher Darius Milhaud. In the 1960s he explored serial techniques and, at the end of the decade, indeterminacy. From 1960 onward the overriding technical preoccupation of his music has been its use of just intonation, the tuning system of the music of ancient cultures as well as that of many living traditions worldwide. The six works represented on this disc span Johnston's journey through atonality, neoclassicism, serial technique, and finally, his pioneering use of just intonation. Septet (1956-58) for woodwind quintet with cello and contrabass, marks the height of Johnston's early neoclassic period. Debts to Stravinsky recurring structural figures, ostinatos that repeat pitches in unpredictable rhythms-are obvious. The more direct influence of Johnston's first important teacher, Darius Milhaud, is apparent in the bitonal textures. In his 1955 Three Chinese Lyrics, scored for soprano and two violins, Johnston has set three poems by the Chinese T'ang dynasty poet Li Po (701-762) in translations by Ezra Pound (his early mentor Harry Partch already had set seventeen of the poems; Johnston set the remaining three). Commissioned by choreographer Merce Cunningham, Gambit (1959) is scored for twelve instruments and consists of six movements, three of which-Interlude 1, Prelude 2, and Interlude 2-use twelve-tone rows. Gambit, a mixed-genre work, precipitated the crucial decision of Johnston's career, his switch to extended "just intonation." For most composers, just intonation implies tonality, but Johnston is unique for his works that fuse pure tuning with the twelve-tone system including Five Fragments (1960). Fragments 1, 2, 3, and 5 modulate systematically from one twelve-tone row to another and, here and in general, Johnston's early just intonation counterpoint moves carefully among consonant intervals. A much later work, Trio for clarinet, violin, and cello (1982), is a gem of Johnston's mature style, rhythmically engaging and harmonically subtle. Phrases return, sometimes with altered continuations, or transposed to different pitch levels, or using an undertone scale rather than an overtone scale. As a result, and typical of Johnston's late work, the Trio's lithe counterpoint falls sweetly on the ear; the complexity is below the surface. Ponder Nothing (1989), is a set of solo clarinet variations on the traditional French hymn "Let All Mortal Flesh Keep Silence." If the hymn gives voice to Johnston's Catholicism, the title, taken from the hymn's third line-"Ponder nothing earthly minded"-refers to his interest in the no-mind meditation of Zen. Malcolm Goldsteinfrom "Malcolm Goldstein: a sounding of sources"(New World Records) Buy at iTunes Music Store Buy at Amazon MP3 More On This Album Malcolm Goldstein, solo violin; Radu Malfatti, trombone; Philippe Micol, bass clarinet; Philippe Racine, flute; Beat Schneider, violoncello As a composer/violinist/improviser Malcolm Goldstein (b. 1936) has been active in the presentation of new music and dance since the early 1960s in New York City as a co-founder with James Tenney and Philip Corner of the Tone Roads Ensemble and as a participant in the Judson Dance Theater, the New York Festival of the Avant-Garde, and the Experimental Intermedia Foundation. His "Soundings" improvisations have received international acclaim for having "reinvented violin playing," extending the range of tonal/sound-texture possibilities of the instrument and revealing new dimensions of expressivity. Since the mid-1960s he has integrated structured improvisation aspects into his compositions, exploring the rich sound-textures of new performance techniques within a variety of instrumental and vocal frameworks. Goldstein has been labeled an "improviser" and a "composer-violinist" (or merely a violinist). What this CD once and for all shows is that he is indeed those things, but encompassing them all is the fact that, profoundly, he is a composer. As he points out, "At the core of Baroque music was the integration of composition and improvisation," and Goldstein brings the perspective and focus of a seasoned performer to this undertaking. In this way his music represents a further evolution of that compositional-improvisational dialogue begun in the early 1950s in the aleatoric, "chance" pieces of composers like John Cage, Earle Brown, Christian Wolff and Morton Feldman.

Utah-based poet and singer, Lara Candland and composer-performer Christian Asplund have evolved a unique style of performance involving an ethereal and lush mix of speech, singing, live sampling, looping, layering, drones, and electronics. They will draw from poems in Candland's recently published Alburnum of the Green and Living Tree and her recently completed chapbook about surgery Physic at the Table.Lara Candland’s book Alburnum of the Green and Living Tree was just released from BlazeVox. Her work has appeared or is forthcoming in Fence, The Colorado Review, Barrow Street, Greatcoat, Fine Madness, The Quarterly and other journals. Her pamphlet, Tongue Child was published by the University of South Carolina’s Palanquin/TDM series. She has been a finalist in The Motherwell, Hudson, and St. Lawrence book awards. She has also been the recipient of an AWP Intro Award, She is a founder and the librettist for Seattle Experimental Opera, and a finalist in the Genesis Prizes. Her opera, Sunset with Pink Pastoral with husband and composer Christian Asplund, was performed by Almeida Opera in London’s Sadler’s Wells Theatre. Candland has taught poetry, college writing, food writing and fiction writing at various colleges and universities around the country as an itinerant grad student/follower of a grad student, and is currently exploring the intersection between written down works and live improv with electronic sampling. Christian Asplund is a Canadian-American composer-performer based in Utah where he is Composer-in-Residence at Brigham Young University. He has degrees from University of Washington, Mills College, and Brigham Young University where his teachers have included Stuart Dempster, John Rahn, Joel-Francois Durand, Alvin Curran, Chris Brown, Thea Musgrave, and Meyer Kupferman. He cofounded Seattle Experimental Opera which has produced seven of his operas. He has performed with such musicians as Christian Wolff, Eyvind Kang, Larry Polansky, Daniel Good, Francois Houle, Michael Bisio, Robert Reigle, Gino Robair, and Phil Gelb in a variety of venues and recordings in the U.S., Canada, and Europe. His scores are published by Frog Peak Music. Asplund is also an active scholar and has published articles and chapters on music theory and critical theory.

Im Rahmen der vorliegenden Doktorarbeit wurde zum ersten Mal die Keimbahn eines Käfers erfolgreich genetisch transformiert. Der von uns zu diesem Zweck in Zusammenarbeit mit Ernst Wimmer entwickelte Transformationsmarker 3xP3-EGFP hat inzwischen sein Potential als spezies-unabhängiges Markergen auch in weiteren Invertebraten-Spezies unter Beweis gestellt und damit das Spektrum transformierbarer Taxa beträchtlich erweitert. In Tribolium konnten Transformationsereignisse mit 3xP3-EGFP für drei verschiedene Transposons - Hermes, Minos und piggyBac - erzielt werden. Die Effizienz betrug dabei 1,4% (Hermes), 11,4% (Minos) bzw. 56% (piggyBac) der fertilen G0 und gehört damit zu den höchsten Werten, die in der Literatur für Insekten berichtet wurden. Bei Minos konnte die Effizienz durch die Verwendung von Transposase mRNA statt einem DNA Helper-Plasmid weiter auf 32,4% gesteigert werden. Für piggyBac und Minos wurde ferner in Zusammenarbeit mit anderen Labors gezeigt, daß es sich bei den meisten Transposoninsertionen um unabhängige Einzelintegrationen handelt, die auf verschiedene Chromosomen verteilt sind und stabil weitervererbt werden. Die Größe zusätzlich transferierter Fremd-DNA kann dabei bei piggyBac mindestens bis zu 9,5 kb betragen. Schließlich konnte noch ein piggyBac Element durch Helperinjektion mit einer Rate von 28,1% remobilisiert werden. Zusammen mit der Anfälligkeit für enhancer trap Effekte können daher mit diesem System alle relevanten Transposon-basierenden Techniken zur funktionellen Genomanalyse angewandt werden. Als erste praktische Anwendung wurden D. melanogaster Sequenzen für anteriore und posteriore mRNA-Lokalisierung (bicoid-3’UTR und oskar-3’UTR), sowie ein bicoid-abhängiger Minimalpromotor in Tribolium eingeführt. Allerdings konnten durch diese Ansätze keine Komponenten oder Mechanismen eines ggf. konservierten maternalen Systems nachgewiesen werden. Ein Konstrukt mit 5,2 kb der upstream Sequenzen von Tc’hunchback mit lacZ als Reportergen war hingegen in der Lage, das endogene hunchback-Muster größtenteils nachzubilden. Das frühere Ergebnis von Christian Wolff mit Tc’hunchback in Drosophila, wonach dieses Fragment alle wesentlichen regulatorischen Elemente enthält, konnte daher in transgenen Käfern bestätigt werden. Zusätzlich zu dem als sehr riskant eingestuften Transformations-Projekt wurde parallel ein weiteres Projekt durchgeführt, die Analyse der homöotischen Mutanten wurm und überlänge. In beiden Mutanten ist vor allem die Identität der posterioren Segmente ab A9 verändert. In wurm sind die Segmente A9-A11 nach A8 transformiert und die telsonalen Anhänge Urogomphi und Pygopodien fehlen. In überlänge ist nur A9 wie A8 ausgebildet und demzufolge nicht mit dem Telson fusioniert. Es fehlen nur die Urogomphi. überlänge bildet zusätzlich ein ektopisches Stigma im ersten thorakalen Segment. Es wurde gezeigt, daß es sich bei den betroffenen Genen um zwei verschiedene Loci handelt, die beide nicht im homöotischen Komplex liegen. Obwohl der Phänotyp von wurm weitgehend der RNAi-Phänokopie von Abdominal-B entspricht, konnte also keiner dieser beiden Loci einem bekannten Hox-Gen zugeordnet werden. Als mögliches Kandidatengen für diese Loci wurde daher das Tribolium-Homolog des regionsspezifischen homöotischen Gens spalt kloniert. Die Expression von spalt entspricht weitgehend der von Dm’spalt, mit einer anterioren und einer posterioren Domäne, einer dorsalen Expression an den seitlichen Rändern des Keimstreifs, sowie einem komplexen Muster im Nervensystem. Mit Hilfe der kürzlich entwickelten Technik der parentalen RNAi wurde die Funktion dieses Gens untersucht. In sal–– Phänokopien finden sich, wie in Drosophila, anteriore und posteriore Veränderungen von Segmentidentitäten. So wird das abdominale Segment A9 in Richtung anteriore abdominale Segmente transformiert. Dadurch tritt ein zusätzliches Stigma auf und die Pygopodien gehen verloren, das Segment fusioniert aber weiterhin mit dem Telson. Im Gegensatz zu Drosophila wird aber anterior nicht das Labium verändert, sondern die Identität der Maxille wird partiell in Richtung Mandibel transformiert: statt dem Enditen der Maxille wird ein mandibel-ähnlicher Zahn gebildet. Damit kommt offenbar auch spalt nicht als Locus in Frage, der in wurm oder überlänge seine Funktion verloren hat. Möglicherweise spielen diese beiden Loci eine Rolle als den HOX-Genen übergeordnete regulatorische Gene, oder als Co-Faktor von Abd-B. Damit sind wurm und überlänge als interessante (und aus Drosophila nicht bekannte) Spieler im homöotischen System der Insekten identifiziert, was weitere Untersuchungen als sehr lohnend erscheinen läßt. Vor allem aber hat dieses Teilprojekt die Evolution des spalt-Gens erhellt, das in weniger abgeleiteten Insekten offenbar eine essentielle Rolle bei der Spezifizierung von Mandibel versus Maxille spielt. Diese Funktion ist in Drosophila vermutlich im Zuge der Reduktion der Mandibel verloren gegangen.

This is Part 2 of The Rationalist Option on Communio Sanctorum, History of the Christian Church.In our last episode, we took a look at the genesis of the Enlightenment in England and France. We'll come back to France a bit later after taking a brief look at the Enlightenment in German and Russia.Germany took a bit longer to join the Enlightenment. That was due in part to the condition of the land following the Thirty Years War. It's estimated the population shrank from twenty million to just seven after it. There's also the issue of Germany not really being a country. It was at that time a collection of independent statelets, united by language and culture, but divided between Catholics and Lutherans.The low regard for contemporary culture at that time in Germany is illustrated by the fact that while Newton, Locke, and Voltaire were regarded as heroes in their realms, Germany's equivalent, Gottfried von Leibniz, was never popular during his lifetime. Yet he was one of the most brilliant men, not just of his day, but of all time. Born in 1646 in Leipzig, Leibniz was the son of a professor of philosophy. He studied law before taking up with a disreputable group of alchemists and worked for the Elector of Mainz.Leibniz came to the attention of the world in 1672, when he was sent on an unofficial ambassadorial mission to Paris. The purpose of this trip was to present Louis XIV with a plan he'd worked out for the invasion of Egypt, by which he hoped to distract the Sun King from ambitions he might have toward Germany. Nothing came of Leibniz's diplomacy,  although Napoleon seems to have adopted his strategy a century later. In any case, while in Paris, Leibniz took the opportunity to meet with all the luminaries in the foremost city of culture in Europe. He studied mathematics, quickly becoming one of the foremost mathematicians in the world, and made a number of important discoveries, including differential calculus, for which tens of thousands of students have hated him ever since. He also proudly demonstrated an extraordinary mechanical calculator he had built.Leibniz's interests were so wide-ranging he could never keep his mind on what he was doing. In 1676, he became Court Chancellor of Hanover and was put in charge of the library. But he was more interested in the mines at Harz and spent several years devising increasingly ingenious devices to solve the problem of draining them. He eventually worked for several German states, as well as the cities of Berlin and Vienna, for which he designed a number of civic improvements. In his spare time, he traveled extensively around Europe, meeting other rationalist luminaries, and carrying out his work in mathematics, chemistry, physics, metaphysics, and theology. He produced hardly any books of importance, but his vast correspondence, much of which is still in the process of being edited and published, dwarfed the output of most of his contemporaries; and there cannot have been any subject, however obscure, with which he did not deal, and on which he was not an authority. Leibniz died in 1716, an increasingly marginalized figure, defiantly wearing his long brocade coat and huge wig which had gone out of style decades before.Despite Leibniz's virtual single-handed attempt to kick-start the German Enlightenment, it didn't get rolling until the 18th C. Prussia, the largest of the German states, took the lead, as its rulers sought to drag their country into the modern era. Frederick Wilhelm, who came to the throne in 1713, reformed the economy after staying with relatives in the Netherlands.Wilhelm, a careful Lutheran, had no love for Catholic France, but his son, Frederick II, known as Frederick the Great, was a quite different person than his father. Upon his accession to the throne in 1740, he set about building on his father's practical reforms with a program of cultural renovation. Among his first acts as ruler was to recall from exile Christian Wolff, the leading German philosopher, and Leibniz's heir. Frederick II's enthusiasm for French culture meant the usual coldness between the two realms saw a remarkable thaw. French was even spoken in his court, and it was at his invitation Voltaire moved to Prussia in 1749. Frederick was also keen to bolster the position of Prussia in Europe, which he did by engaging in a series of wars between the 1740s and 60s.During the late 17th C, the Russian Czar Peter the Great traveled all over Europe on a mission to learn all he could about the Enlightenment. He was eager to see what impact it had had on the realms of culture, economics, and engineering. His plan was to return to Mother Russia and drag it, if need be, into the modern world.Although Western Russia geographically is considered a part of Europe, it had for centuries been isolated. It was ruled by the Mongols for much of the late Middle Ages and was a bastion of Orthodox Christianity, a separate denomination from the Catholics and Protestants in the West. Westerners knew virtually nothing about Russian religion, and Russians cared virtually nothing for the West.It's hardly surprising that, when Peter returned home, he had to enforce his reforms with an iron hand if he was going to make headway. Beards, a revered symbol of Orthodoxy, were banned in an attempt to get people to look more Western. Young men were happy to comply, as many women preferred. But most older men kept their beards in boxes, fearing they were bereft of salvation without them. Traditional Russian dress, which reached the ankle, was banned. Everyone had to dress like the French, and anyone who refused had their clothes force-tailored. English hairstyles were mandatory for women. Schools were built, the calendar reformed, military conscription introduced, and church hierarchy was placed firmly under State control. Like Louis XIV's France, Peter's Russia was an avowedly Christian country. As a symbol of the new, Westward-leaning Russia, Peter transferred the capital to a new city, St Petersburg, on the Baltic coast.But Peter was hardly a model of Enlightenment tolerance. In 1718, he had his son tortured to death for treason. Still, his reforms were extended and completed by Catherine the Great, a Prussian who became Empress of Russia in 1762. She organizing a coup against her own husband. Unlike Peter, Catherine grew up in Western Europe and had thoroughly imbibed Enlightenment principles. She corresponded with Voltaire and other leading cultural figures; patronized the arts, and founded the famous Hermitage Museum in St Petersburg. Catherine was also a skilled diplomat, and as the most powerful monarch in Europe, extended Russian influence throughout the continent.Okay, so, you're wondering how this is church history. I thought it wise to spend a little time charting the broad outlines of the Enlightenment so we could see how the thinking it produced affected theology.That happens with the advent of Rationalism.Rationalism reached its apex in the 18th and 19th Cs. It's characterized by an interest in the physical world and its confidence in the powers of reason. In Western Europe, there'd been a growing interest in Nature since the 13th C. That was the era of Albert the Great and Thomas Aquinas, who reintroduced Aristotelian philosophy as a tool for doing theology. One of the points of contrast between Aristotelianism and the earlier Platonism that dominated theological thought was precisely that the new philosophy emphasized the importance of the senses and perception. The later Middle Ages, with its distrust of speculation, continued in the same vein. The art of the Renaissance, with its appreciation for the beauty of the human body and the world, was an expression of this interest. By the 17th C, many thought the goal of reason was understanding the world of nature.Parallel to that, there appeared growing confidence in the powers of reason. Often, these two trends were combined in an effort to show the degree to which the order of nature coincides with the order of reason. This can be seen, for instance, in the work of Galileo, who was convinced the entire natural world was a system of mathematical relations, and that the ideal of knowledge was the reduction of all phenomena to their quantitative expression. Every success of such efforts seemed to confirm the most optimistic expectations of the power of reason.This all led to the philosophy of René Descartes in the first half of the 17th C. His system was based on great confidence in mathematical reasoning, joined to a profound distrust of all that is not absolutely certain. He compared his philosophical method to geometry, a discipline that accepts only what is an undeniable axiom or has been rationally proven.In applying his method, Descartes felt he ought to begin with an attitude of universal doubt, making sure that, once he found something he could not doubt, he would be certain of its truth. He then found that undeniable first truth in his own existence. He could doubt everything, but not that the doubting subject existed. “I think, therefore I am,” became the starting point for his philosophy. But this I whose existence cannot be doubted is only the subject as a thinker. The existence of his body wasn't proven, so must be doubted.Before proving his existence as a body, Descartes felt he could, get this >> Prove the existence of God. He found in his mind the idea of a “more perfect being,” and since his mind could not produce such an idea, which was above itself, it must have been placed there by God. Therefore, Descartes's second conclusion was that God exists. It was only then, on the basis of the existence of God, and of trust in the divine perfection, that Descartes felt free to move on to prove the existence of the world and of his own body.Descartes was a profoundly religious man who hoped his philosophy would be found useful by theologians. But not all agreed with him. Many theologians feared the challenge of Cartesianism—as his philosophy was called. The universal doubt Descartes proposed as his starting point seemed to some a kind of crass skepticism. The faculties of several universities declared Aristotelianism was the philosophical system best suited to Christian theology, and there were those who declared Cartesianism lead to heresy. Dismayed, Descartes decided to leave his native France. He moved to Sweden, where he lived the rest of his life.But he was not without supporters. In France, those intellectual circles where Jansenism had been popular embraced Cartesianism. Eventually, others among the more orthodox also took it up, and debates continued for a long time.The main point at which Cartesianism led to further theological and philosophical developments was the question of the relationship between spirit and matter, between soul and body. It's at this point we could really get into a sticky wicket as we parse all the various ways theologians and philosophers offered ideas on the inter-relationship between the thinking self and the thing that occupies space in the form of a body. But we won't go into the theories of Occasionalism, Monism, and Preestablished Harmony.Let me just say this became a realm of contentious debate between a Dutch Jew named Baruch de Spinoza and our friend Leibniz.While these philosophical developments took place on the Continent, in Britain, philosophy took a different route in what's called Empiricism. It's drawn from a Greek word meaning experience. Its leading figure was Oxford professor John Locke, we considered in the previous episode. In 1690, Locke published his Essay on Human Understanding. He read Descartes and agreed the order of the world corresponded to the order of the mind. But he didn't believe there was such a thing as innate ideas to be discovered by looking inward. He contended that all knowledge is derived from experience; the experience of the senses, and the working of our minds. That meant the only genuine knowledge is based on three levels of experience: Experience of self, Experience of the world around us, and Experience of God, whose existence is manifest by the existence of ourselves and the world.To this Locke added another level of knowledge, that of probability. Probability works like this; You and I have repeatedly experienced someone's existence; let's call him George. We know George. He's a friend we see a couple of times a week. When George isn't standing in front of us, we still have reason to believe He exists, even though at that moment, we have no purely empirical basis to believe in his existence. Still, sound judgment gives us reason to discern the probability of George's existence. Locke said that this judgment of probability allows us to get on with the practical affairs in life.Faith, Locke said, is assent to knowledge derived from revelation rather than reason. Therefore, although highly probable, knowledge derived by faith can't be certain. Reason and judgment must be used in order to measure the degree of probability of what we believe by faith. For this reason, Locke opposed the “fanatical enthusiasm” of those who think that all they say is based on divine revelation. For the same reason, he defended religious toleration. Intolerance is born out of the muddled thinking that confuses the probable judgments of faith with the certainty of empirical reason. Besides, toleration is based on the very nature of society. The state does not have the authority to limit the freedom of its citizens in matters such as their personal religion.In 1695, Locke published a treatise, The Reasonableness of Christianity, in which he claimed Christianity is the most reasonable of religions. He said the core of Christianity is the existence of God and faith in Christ as Messiah. But Locke didn't believe the Christian Faith had added anything of importance to what could, in any case, have been known by the proper use of reason and judgment. In the final analysis, Christianity was little more than a very clear expression of truths and laws that others could have known by their natural faculties.Others would come along later and drive a wedge between faith and reason, divorcing them into different camps. And in the settlement, Faith would be left impoverished while Reason drove off with all the goodies.One of those who drove the wagon was David Hume in the mid-18th C. In my estimation, Hume can be blamed for the post-modern tendency of knee-jerk negativity toward absolutes. An illustration may best help to describe his philosophy, or better, his anti-philosophy. Hume was skeptical of reason, saying the only reason, reason seems to work is because of mental habits we've developed. In other words, In Hume's system, Descartes' doubt didn't go far enough; he ought to have doubted his own ability to reason.Hume maintained, for instance, that no one has ever experienced what we call cause and effect. We've seen, for instance, when a pool ball collides with another ball, there's a noise and the second ball moves off in some direction. If we repeat that several times, we see similar results. So we conclude by the power of reason that the movement of the first ball caused the movement of the other. But, Hume contended, we've not seen any such thing. All we've witnessed is a series of phenomena, and our mind has linked them by means of the notion of cause and effect. This last step, Hume claimed, taken by any who see a series of phenomena that are seemingly related, has no basis in empirical observation. It is rather the result of our mental habits. So, by an empiricists' definition, that's not rational knowledge.Hume's uber-skepticism places such strict rules on interpreting what our senses tell us, there's no room left for the working of logic and deduction. He cripples us and turns his followers into inveterate skeptics.It wasn't long until some Enlightenment thinkers washed their hands of faith altogether and began to envision a world without God or religion.We'll talk about later developments in Philosophy and their impact on theology in a later episode.