Podcasts about Cultural memory

Guggenheim Fellow, artist, producer, and educator Kokayi returns to unpack the layers of sound, storytelling, and being a vessel for cultural memory.Since our first conversation, Kokayi has pushed deeper into multidisciplinary work—blending sound design, improvisation, code, and community-building. This conversation tracks his reflections on legacy, experimentation, and why he's wary of institutions that try to own culture. We talk about what's next, how he stays rooted in practice, and what it means to be free in a creative economy that rewards conformity.Sound as both artform and archival practiceWhy joy is built into his live performance structureNavigating mentorship, freedom, and capitalist frameworksCreating from truth instead of chasing metricsThe importance of protecting your time and your IP

Artist Lewinale Havette returns for a conversation on art, spirit, and shedding constraints.Recorded at Palo Gallery during NYC Art Week, Lewinale reflects on her evolution since 2022—from early paintings shaped by language and migration to her latest abstract works rooted in instinct, spirituality, and ancestral memory. We discuss authenticity, pushing limits, and why she's letting go of surface-level meaning in favor of deeper emotional truth.Why she's moved from narrative-driven art to intuitive abstractionUsing linen, ink, and ancestral symbols to honor West African water deitiesHer take on the performative nature of art cultureThe emotional reactions her work sparks—from awe to fearWhat it means to create art for everyone, including herself

Starting with a quick take on “Italian brain rot” (yes, it's a real AI meme phenomenon), Joel and Tim quickly shift into a deeper critique of internet culture, generational shifts, and the loss of long-term creative effort in favor of instant gratification. What does the rise of AI-generated content, TikTok trends, and nostalgia-fueled memes say about our society's priorities?From there, the conversation takes a turn into why memory matters—not just as nostalgia, but as a cornerstone of identity, faith, and flourishing communities. Tim unpacks key ideas from sociology and anthropology, weaving in concepts like vicarious memory, collaborative remembering, and mutual participation to explain why intergenerational ministry works and how churches can preserve meaning across generations, stories—sacred and silly—shape who we are.00:00 Intro01:18 – Italian brain rot and the decline of creative effort21:00 – Memory, ministry, church34:10 – The role of collective and vicarious memory49:10 – Mutual participation: Becoming part of the story55:10 – What shapes church culture1:01:35 – Inclusive memory: How storytelling welcomes everyoneDISCUSSED ON THIS EPISODELearning Fast and Slow: Why AI Won't Revolutionize EducationRemembering to Believe: How Collective Remembering Shapes Faith FormationPerennial Seller, by Ryan HolidayThe Life and Death of Australian Soccer, by Joe GormanA Season with Verona, by Tim ParksCONTACT USShock Absorber Email: joel@shockabsorber.com.auShock Absorber Website: shockabsorber.com.auSoul Revival Shop: soulrevival.shopCheck out what else Soul Revival is up to here

In this episode of Audio Talks, host Oisin Lunny engages with audio preservation experts David Seubert and Gerald Seligman to discuss the critical importance of preserving master recordings and audio heritage. They explore the devastating impact of the 2008 Universal Fire at Universal Studios, which destroyed countless irreplaceable recordings, and the broader implications for music history and cultural memory. The conversation delves into the challenges faced by both public institutions and commercial record labels in preserving audio, the fragility of audio heritage, the role of technology in restoration efforts, and how listeners can contribute to preserving sound history.

Pinball today: it's wild, it's wonderful, it's... expensive as hell. In this episode, we break down the pros, the cons, and the weird in-betweens of the current pinball landscape. There's a lot to celebrate, a lot to question, and—let's be honest—a lot to buy if your wallet can handle it. Let's catch up, kick back, and have a good ol' fashioned pinball chat. No fluff, no filter—just real talk from one obsessive fan to another. Want more chaos?

S7E203 – Giants and the Bible Thabani and Michael delve into the complex interpretations of Genesis 6 and explore the supernatural view of the Nephilim, discussing how early Jewish and Christian beliefs shaped the understanding of these figures as giants and their implications in biblical narratives. The discussion also touches on the cultural memory of giants across civilizations and the language used in ancient texts, emphasizing the importance of context in biblical interpretation. Chapters 00:00 Introduction to Giants in the Bible03:17 Exploring Sasquatch and Its Cultural Significance21:23 The Nature of Truth and Worldviews24:17  Understanding Giants in Biblical Context33:01 Exploring the Sons of God and Daughters of Men36:24 The Supernatural View of Genesis 640:50 The Nephilim: Giants and Their Legacy58:42 The Cultural Memory of Giants Across Civilizations

MAKE HISTORY WITH US THIS SUMMER: https://demystifysci.com/demysticon-2025PATREON https://www.patreon.com/c/demystifysciPARADIGM DRIFT https://demystifysci.com/paradigm-drift-showPATREON: get episodes early + join our weekly Patron Chat https://bit.ly/3lcAasBMERCH: Rock some DemystifySci gear : https://demystifysci.myspreadshop.com/allAMAZON: Do your shopping through this link: https://amzn.to/3YyoT98SUBSTACK: https://substack.com/@demystifysciBen van Kerkwyk is the host of the  @UnchartedX  Youtube channel, best known for his study of unbelievably precise stone vases from the pre-dynastic period in Egypt. The strangeness of these vases cannot be overstated. They're hewn out of some of the hardest stones known to man with micron precision. Mathematical relationships like pi, phi, and the flower of life are encoded in their construction. And they are OLD. Some have been found in tombs that date back to 6000 BC, more than three thousand years before the peak of Egyptian civilization. When they are discovered, it is always among other vases that *look* similar, but lack the precision and fine workmanship, or are made from softer stone. It is as if they are prized heirlooms, passed along through the generations, from a people whose ability to work stone (at the very least) rivals ours - but who are completely missing from the archaeological record. Who were these people? Why did they make these vases? What else were they doing? We sit down with Ben to unravel the story. Ben's channel, UnchartedX here on YT: https://www.youtube.com/@UC2Stn8atEra7SMdPWyQoSLA (00:00) Go! (00:05:18) The Enigmatic Vases of Ancient Egypt(00:07:53) Contextualizing Pre-Dynastic Egypt(00:12:02) Advanced Stonework: Evidence of Ancient Precision(00:20:34) Egyptian Artifact Enigma(00:25:10) Museums and Unseen Records(00:27:19) Mythological Memories(00:32:10) Cataclysmic Events and Memories(00:38:36) Cultural Evolution and Memory Loss(00:40:42) Ancient Egyptian Symbols and Theories(00:42:06) Cargo Cults and Cultural Memory(00:44:04) Egypt's Architectural Mysteries(00:47:04) Human Antiquity and Technological Gaps(00:49:23) Civilization Cycles and Future Challenges(00:55:09) Energy, Society, and Civilization's Future(01:03:11) Unfinished Works and Ancient Techniques(01:06:40) Evidence of Advanced Machining(01:10:38) Theories on Ancient Machining Methods(01:19:40) Ancient Machining Techniques(01:32:22) Mathematical Encodings in Art(01:39:03) Analysis of Vase Geometry(01:43:14) Mathematical Modelling Precision(01:47:01) Historical Implications & Mathematical Knowledge(01:52:33) Machining Challenges(01:56:28) Geopolymer Theories(02:02:02) Precision in Ancient Artifacts(02:09:06) Authenticity and Provenance Concerns(02:22:51) Functional Speculations of Ancient Structures(02:25:11) Rewriting Historical Narratives(02:31:11) Tour Challenges and Insights(02:34:22) Future Research Themes(02:37:11) Interconnection of Beauty and Mathematics(02:38:36) Mathematical Precision in Ancient Designs(02:43:00) Ancient Civilizations and Their Lost Histories#LostCivilizations,, #ancienttechnology, #AncientArtifacts, #AncientHistory, #EgyptianMysteries, #Archaeology, #HistoricalMysteries, #AlternativeHistory, #AncientEgypt, #MysteryUncovered, #AncientCivilizations, #HistoryBuff, #AncientSecrets, #AncientEngineering, #HistoricalResearch, #Mythology, #philosophypodcast, #sciencepodcast, #longformpodcastCheck our short-films channel, @DemystifySci: https://www.youtube.com/c/DemystifyingScience AND our material science investigations of atomics, @MaterialAtomics https://www.youtube.com/@MaterialAtomicsJoin our mailing list https://bit.ly/3v3kz2S

In this episode, BT delves into the mysteries of Karahan Tepe with author Andrew Collins. They will discuss this ancient site in Turkey that challenges our understanding of human history. He discusses the significance of the Anunnaki, the concept of the cosmic serpent, and how these ancient beliefs have influenced civilizations. The conversation explores the geometry of ancient structures, the connection between time and cosmic cycles, and the cultural legacy of serpent worship across various societies. Andrew Collins, a researcher and author, shares his insights on these topics, emphasizing the importance of communication with the divine and the enduring impact of these ancient narratives on modern culture.Websites to check out: https://www.megalithomania.co.uk/index.phphttps://www.andrewcollins.com/Get the Book: https://www.innertraditions.com/karahan-tepeChapters 00:00 Exploring the Mysteries of Karahan Tepe07:03 The Anunnaki and Their Influence on Civilization13:57 The Cosmic Serpent and Ancient Beliefs22:00 Cultural Connections and the Legacy of the Serpent29:52 Geometry, Time, and Cosmic Cycles40:12 The Serpent Head and Communication with the Divine51:01 The Journey of Knowledge and Cultural Memory

Support Midgard Musings By Clicking Here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/MidgardMusings⁠⁠. Email: midgardmusingstn@gmail.com Podcast hotline: 1-615-671-9832 Sources cited: Úlfjótslǫg, a law aiming to prevent upsetting landvættir - https://www.academia.edu/61919186/ein_l%C7%ABg_ok_einn_si%C3%B0r_Law_Religion_and_their_Role_in_the_Cultivation_of_Cultural_Memory_in_Pre_Christian_Icelandic_Society Landnámabók (Book Of Settlements) Heimskringla - Óláfs saga Tryggvasonar Egils saga Skalla-Grímssonar

The positive image cannot exist without the negative, and the relationship between the two reveals the fundamental nature of the image as fungible, media as a process, and truth value as a matter of interpretation. Scholarship and conservation therefore have a profound responsibility to collect, preserve, and interpret media negatives for what they reveal about the relationship between positive images and the truth. In her latest project, Dr. Stefka Hristova, associate professor at Michigan Technological University, theorizes the relationship between media negatives, their positive counterparts, and the truth value accessible through a careful study of both. Using the collections held in the Hagley Library, Hristova demonstrates that a photographic image cannot be understood without reference to its negative. Likewise, and with profound implications for our present moment, the images and other media generated algorithmically cannot be properly judged or interpreted without an understanding of their negatives, the data used as the means of generating the final image. In support of her work, Dr. Hristova received funding from the Center for the History of Business, Technology, and Society at the Hagley Museum and Library. For more information, and more Hagley History Hangouts, visit us online at hagley.org.

How do you teach the FIrst World War? This month we're joined by Dr Ann-Marie Einhaus and Prof Catriona Pennell to reflect on their 'First World War in the Classroom' project that explored the ways the conflict was taught in schools. Along the way we discuss the role of battlefield tours, the time constraints faced by teachers, and whether the centenary has changed the way the war is taught' References:The First World War in the Classroom: Teaching and the Construction of Cultural Memory  

Jane and James are joined by writer and historian Daniel Knowles to discuss the cultural memory and evolving opinions of RAF Bomber Command. They explore topics such as the role of Bomber Command in the defeat of Germany, the influence of the Dresden raids, and the moral debate surrounding area bombing. The historiography of Bomber Command is also examined, with a focus on how perceptions have changed over time. The conversation touches on films and books that have shaped popular understanding of Bomber Command, as well as the impact of events like the Vietnam War. The conversation explores the influence of various books and historical events on the perception of Bomber Command and the bombing of Germany. It discusses the role of authors like Irving, Grayling, and Overy in shaping public opinion. The conversation also touches on the changing perspectives on bombing strategy and the goals of the bombing campaign. The representation of aircrews and their personal views on their actions are examined, highlighting the complexity and nuance of their experiences. The discussion concludes with a reflection on the commemoration of Bomber Command and the importance of understanding the wider context of the war.Send us a Text Message.Support the Show.Please subscribe to Never Mind The Dambusters wherever you get your podcasts. You can support the show, and help us produce great content, by becoming a paid subscriber from just $3 a month here https://www.buzzsprout.com/2327200/support . Supporters receive invitations to participate in our recording sessions as an audience member. Thank you for listening! You can reach out to us on social media at @RAF_BomberPod (X) or @NeverMindTheDambusters (Instagram)You can find out about James' research, articles, lectures and podcasts here .You can read more about Jane's work on her website at https://www.justcuriousjane.com/, and listen to podcasts/media stuff here

Hundreds of thousands of individuals perished in the epic conflict of the American Civil War. As battles raged and the specter of death and dying hung over the divided nation, the living worked not only to bury their dead but also to commemorate them. President Abraham Lincoln's Gettysburg Address perhaps best voiced the public yearning to memorialize the war dead. His address marked the beginning of a new tradition of commemorating American soldiers and also signaled a transformation in the relationship between the government and the citizenry through an embedded promise and obligation for the living to remember the dead. In Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921 (U Nebraska Press, 2020) Shannon Bontrager examines the culture of death, burial, and commemoration of American war dead. By focusing on the Civil War, the Spanish-Cuban-American War, the Philippine-American War, and World War I, Bontrager produces a history of collective memories of war expressed through American cultural traditions emerging within broader transatlantic and transpacific networks. Examining the pragmatic collaborations between middle-class Americans and government officials negotiating the contradictory terrain of empire and nation, Death at the Edges of Empire shows how Americans imposed modern order on the inevitability of death as well as how they used the war dead to reimagine political identities and opportunities into imperial ambitions. Alex Beckstrand is a PhD candidate in history at the University of Connecticut and an officer in the Marine Corps Reserves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Hundreds of thousands of individuals perished in the epic conflict of the American Civil War. As battles raged and the specter of death and dying hung over the divided nation, the living worked not only to bury their dead but also to commemorate them. President Abraham Lincoln's Gettysburg Address perhaps best voiced the public yearning to memorialize the war dead. His address marked the beginning of a new tradition of commemorating American soldiers and also signaled a transformation in the relationship between the government and the citizenry through an embedded promise and obligation for the living to remember the dead. In Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921 (U Nebraska Press, 2020) Shannon Bontrager examines the culture of death, burial, and commemoration of American war dead. By focusing on the Civil War, the Spanish-Cuban-American War, the Philippine-American War, and World War I, Bontrager produces a history of collective memories of war expressed through American cultural traditions emerging within broader transatlantic and transpacific networks. Examining the pragmatic collaborations between middle-class Americans and government officials negotiating the contradictory terrain of empire and nation, Death at the Edges of Empire shows how Americans imposed modern order on the inevitability of death as well as how they used the war dead to reimagine political identities and opportunities into imperial ambitions. Alex Beckstrand is a PhD candidate in history at the University of Connecticut and an officer in the Marine Corps Reserves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Hundreds of thousands of individuals perished in the epic conflict of the American Civil War. As battles raged and the specter of death and dying hung over the divided nation, the living worked not only to bury their dead but also to commemorate them. President Abraham Lincoln's Gettysburg Address perhaps best voiced the public yearning to memorialize the war dead. His address marked the beginning of a new tradition of commemorating American soldiers and also signaled a transformation in the relationship between the government and the citizenry through an embedded promise and obligation for the living to remember the dead. In Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921 (U Nebraska Press, 2020) Shannon Bontrager examines the culture of death, burial, and commemoration of American war dead. By focusing on the Civil War, the Spanish-Cuban-American War, the Philippine-American War, and World War I, Bontrager produces a history of collective memories of war expressed through American cultural traditions emerging within broader transatlantic and transpacific networks. Examining the pragmatic collaborations between middle-class Americans and government officials negotiating the contradictory terrain of empire and nation, Death at the Edges of Empire shows how Americans imposed modern order on the inevitability of death as well as how they used the war dead to reimagine political identities and opportunities into imperial ambitions. Alex Beckstrand is a PhD candidate in history at the University of Connecticut and an officer in the Marine Corps Reserves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Hundreds of thousands of individuals perished in the epic conflict of the American Civil War. As battles raged and the specter of death and dying hung over the divided nation, the living worked not only to bury their dead but also to commemorate them. President Abraham Lincoln's Gettysburg Address perhaps best voiced the public yearning to memorialize the war dead. His address marked the beginning of a new tradition of commemorating American soldiers and also signaled a transformation in the relationship between the government and the citizenry through an embedded promise and obligation for the living to remember the dead. In Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921 (U Nebraska Press, 2020) Shannon Bontrager examines the culture of death, burial, and commemoration of American war dead. By focusing on the Civil War, the Spanish-Cuban-American War, the Philippine-American War, and World War I, Bontrager produces a history of collective memories of war expressed through American cultural traditions emerging within broader transatlantic and transpacific networks. Examining the pragmatic collaborations between middle-class Americans and government officials negotiating the contradictory terrain of empire and nation, Death at the Edges of Empire shows how Americans imposed modern order on the inevitability of death as well as how they used the war dead to reimagine political identities and opportunities into imperial ambitions. Alex Beckstrand is a PhD candidate in history at the University of Connecticut and an officer in the Marine Corps Reserves. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hundreds of thousands of individuals perished in the epic conflict of the American Civil War. As battles raged and the specter of death and dying hung over the divided nation, the living worked not only to bury their dead but also to commemorate them. President Abraham Lincoln's Gettysburg Address perhaps best voiced the public yearning to memorialize the war dead. His address marked the beginning of a new tradition of commemorating American soldiers and also signaled a transformation in the relationship between the government and the citizenry through an embedded promise and obligation for the living to remember the dead. In Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921 (U Nebraska Press, 2020) Shannon Bontrager examines the culture of death, burial, and commemoration of American war dead. By focusing on the Civil War, the Spanish-Cuban-American War, the Philippine-American War, and World War I, Bontrager produces a history of collective memories of war expressed through American cultural traditions emerging within broader transatlantic and transpacific networks. Examining the pragmatic collaborations between middle-class Americans and government officials negotiating the contradictory terrain of empire and nation, Death at the Edges of Empire shows how Americans imposed modern order on the inevitability of death as well as how they used the war dead to reimagine political identities and opportunities into imperial ambitions. Alex Beckstrand is a PhD candidate in history at the University of Connecticut and an officer in the Marine Corps Reserves. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

Revisiting three past conversations featuring mythology based in the cultural memory of the Bronze Age... The Minotaur and Autism featuring Cora Beth Fraser, Helen of Sparta and the Kalon Kakon with Alexia Burrows Charalambidou, and Homer with Joel Christensen. Find the full Bronze Age playlist here.  CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.  See omnystudio.com/listener for privacy information.

Revisiting past episodes featuring myths born of the cultural memory of the Bronze Age. Find the full Bronze Age playlist here.  CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: See the individual episodes' descriptions for sources. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions.See omnystudio.com/listener for privacy information.

In this episode Kara and Jordan answer listener questions from April. To submit a question for the monthly Q&A podcast, become a paid subscriber on Substack or join our Patreon!A few photos from Kara's Egypt tripShow Notes:Female Genitalia Lexicography* Bednarski, Andrew 2000. Hysteria revisited. Women's public health in ancient Egypt. In McDonald, Angela and Christina Riggs (eds), Current research in Egyptology 2000, 11-17. Oxford: Archaeopress.* Ghalioungui, P. 1977. The persistence and spread of some obstetric concepts held in ancient Egypt. Annales du Service des Antiquités de l'Égypte 62, 141-154.* Westendorf, Wolfhart 1999. Handbuch der altägyptischen Medizin, 2 vols. Handbuch der Orientalistik, erste Abteilung 36 (1-2). Leiden: Brill.Burial of Children * Barba, Pablo 2021. Power, personhood and changing emotional engagement with children's burial during the Egyptian Predynastic. Cambridge Archaeological Journal 31 (2), 211-228. DOI: 10.1017/S0959774320000402.  * Kaiser, Jessica 2023. When death comes, he steals the infant: child burials at the Wall of the Crow cemetery, Giza. In Kiser-Go, Deanna and Carol A. Redmount (eds), Weseretkau "mighty of kas": papers in memory of Cathleen A. Keller, 347-369. Columbus, GA: Lockwood Press. DOI: 10.5913/2023853.22.  Export >>* Marshall, Amandine 2022. Childhood in ancient Egypt. Translated by Colin Clement. Cairo; New York: American University in Cairo Press. * Saleem, Sahar N., Sabah Abd el-Razek Seddik, and Mahmoud el Halwagy 2020. A child mummy in a pot: computed tomography study and insights on child burials in ancient Egypt. In Kamrin, Janice, Miroslav Bárta, Salima Ikram, Mark Lehner, and Mohamed Megahed (eds), Guardian of ancient Egypt: studies in honor of Zahi Hawass 3, 1393-1403. Prague: Charles University, Faculty of Arts.Skin Color and Gender* Shelley Halley, Prof. Emerita of Classics and Africana Studies, Hamilton College* Tutankhamun out of the lotus blossom with ‘naturalistic' skin * Roth, Ann Macy 2000. Father earth, mother sky: ancient Egyptian beliefs about conception and fertility. In Rautman, Alison E. (ed.), Reading the body: representations and remains in the archaeological record, 187-201. Philadelphia: University of Pennsylvania Press.* Tan Men/Pale Women: Color and Gender in Archaic Greece and Egypt, a Comparative Approach by Mary Ann Eaverly Kara's ARCE Talk- “Elites Relying on Cultural Memory for Regime Building”Abstract: Theban elites of the late 20th and 21st Dynasties relied on veneration of 17th and 18th Dynasty kings to support their regimes ideologically. The cults of Ahmose-Nefertari and Amenhotep I were vibrant in the west Theban region, and their oracles were essential to solving many disputes. Herihor connected his militarily-achieved kingship to his position in the Karnak priesthood using the ancestor kings as touchstones. Twenty-first Dynasty Theban elites named their children after 18th Dynasty monarchs; Theban High Priest and king Panedjem named a daughter Maatkare, ostensibly after Hatshepsut of the 18th Dynasty, and a son Menkheperre after Thutmose III. Examination of the 20th and 21st Dynasty interventions of the royal mummies from Dra Abu el Naga and the Valley of the Kings indicates these royal corpses were used as sacred effigies of a sort, rewrapped and placed into regilded containers even after they had been stripped of their treasures and golden embellishments. This paper will examine how immigrants and mercenaries were able to move into Theban elite circles by marshaling ancestral connections to power. Men like Herihor and Panedjem, one of them at least of Meshwesh origins, worked within an Upper Egyptian cultural system that put its temple communities of practice before its military and veiled its politics with pious rituals and oracular pronouncements. Such elites had to negotiate their identities and power grabs through the cultural memory of the region's royal ancestors.* Episode 83- Thutmose III and the Veneration of the Royal Ancestors * Cooney, Kathlyn M. 2022. The New Kingdom of Egypt under the Ramesside dynasty. In Radner, Karen, Nadine Moeller, and D. T. Potts (eds), The Oxford history of the ancient Near East, volume III: from the Hyksos to the late second millennium BC, 251-366. New York: Oxford University Press. DOI: 10.1093/oso/9780190687601.003.0027. * Cooney, Kara. 2024. Recycling for Death AUC Press. * The Khonsu Temple at Karnak Get full access to Ancient/Now at ancientnow.substack.com/subscribe

Martin R. Nelson - Children of the Dying Hearth - Fantasy, Adventure, World Building and Writing. This is episode 667 of Teaching Learning Leading K12, an audio podcast. Martin Nelson has served as a high school history and Latin teacher for the past five years at Saint Mary's School of Medford. Prior to that he held various positions, including substitute teacher and summer school administrator of Master Dei High School in Santa Ana; teaching assistant and writing coach at Fordham University; and a blog editor for the history department at Fordham. Nelson was awarded Honorable Mention for the L. Ron Hubbard Writers of the Future Contest in The Journal of Dr. Rudy J. Gleeman. Martin earned his B.A. in History from University of Portland, in Oregon. He received a master's in history from Fordham University, in New York. His research interests include early and high Medieval Danish Political Culture, Conceptualizations of Sanctity, and Cultural Memory. He speaks three foreign languages – Spanish, Italian, and Latin - -and is a member of several professional academic organizations, including: American Historical Academy, American Classical League, and Hagiography Society. True to enjoying anything fantasy, the subject of his debut novel, Children of the Dying Hearth, Nelson spends hours playing video games. He grew up on RPGs like Final Fantasy and Suikoden. He likes getting into a new anime or role-playing a tabletop game. Nelson presently coaches the all-girls soccer team at a Catholic high school. A lifetime soccer player, he recently took up Brazilian Jiu-Jitsu. He also enjoys hunting and fishing. Born and raised in Oregon, he spent time playing semi-professional soccer in Romania, Spain, Portugal, and Germany. He's also lived in California and New York.  He can be found on Facebook (www.facebook.com/martin.nelson), Instagram (www.instagram.com/annals_of_tessian), and X (www.tritter.com/martinsonofnel). For more information, please see: www.martinraynelson.com   He resides with his family in Medford, Oregon. Our focus today is Martin's Novel - Children of the Dying Hearth…. Awesome talk! Great story! Thanks for listening! Before you go... You could help support this podcast by Buying Me A Coffee. Not really buying me something to drink but clicking on the link on my home page at https://stevenmiletto.com for Buy Me a Coffee or by going to this link Buy Me a Coffee. This would allow you to donate to help the show address the costs associated with producing the podcast from upgrading gear to the fees associated with producing the show. That would be cool. Thanks for thinking about it.  Hey, I've got another favor...could you share the podcast with one of your friends, colleagues, and family members? Hmmm? What do you think? Thank you! You are AWESOME! Thanks so much! Connect & Learn More: www.martinraynelson.com https://www.linkedin.com/in/martin-r-nelson-51ab1345/ www.facebook.com/martin.nelson www.instagram.com/annals_of_tessian www.twitter.com/martinsonofnel Length - 46:28

Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is  Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2023 Visitor Attraction Website Report - the annual benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends on 29th March 2024. The winner will be contacted via Twitter. Show references: https://skiptontownhall.co.uk/craven-museum/https://www.linkedin.com/in/jenny-hill-54503a189/ Jenny Hill is Lead Museums Curator at North Yorkshire Council, including at Craven Museum in Skipton. She has a degree in History from Lancaster University and a Contemporary History MA from the University of Sussex. She has worked in the sector for almost 7 years and is passionate about community engagement and making museum collections accessible for all. Between 2018-21 she worked on a National Lottery Heritage Funded capital redevelopment project at Craven Museum. In 2023 her team won the Kids in Museums Best Family Friendly and Most Accessible Museum awards. https://kidsinmuseums.org.uk/https://www.linkedin.com/in/alison-bowyer-0608a417/Alison Bowyer has worked in the cultural sector for over 20 years with previous roles at LAMDA, the National Youth Orchestra of Great Britain, Southbank Centre and the Academy of Ancient Music. The longer her career has continued, the more convinced she is that we still need to work harder to make culture and heritage accessible to all.She has a longstanding interest in museums and how people engage with heritage, having been a volunteer at Handel House Museum (now Handel and Hendrix) in London and completing degrees in Cultural Memory and History. Alison has been Executive Director of Kids in Museums for seven years. During which time, the organisation has become an Arts Council England IPSO, won a Museum + Heritage Award, developed a new national training programme, established a Youth Panel and delivered a range of new programmes.Outside of work, Alison is a listening volunteer for Samaritans, a Director of the Family Arts Campaign and likes to crochet. Transcription:  Kelly Molson: Welcome to Skip the Queue, a podcast for people working in or working with visitor attractions. I'm your host, Kelly Molson. On today's episode I'm joined by my co-host, Paul Marden, CEO of Rubber Cheese.We're speaking with Alison Bowyer, Executive Director of Kids in Museums and Jenny Hill, Lead Museums Curator at Craven Museum.It's almost a Kids in Museums takeover as Paul is one of their amazing trustees.Today we're finding out what it takes to be a truly family friendly museum, why it's important for you to engage with the Kids in Museums manifesto, and how you can enter the awards this year.If you like what you hear, subscribe on all the usual channels by searching Skip the Queue.Kelly Molson: Hello, Alison, Jenny, and Paul, welcome. Welcome to Skip the Queue today. This is a treat. I am joined by Alison and Jenny today and we're going to talk about kids and museums. And I've also got Paul. Hello, Paul, who has joined me as co host today, and he is going to start the icebreakers. This is new.Paul Marden: It is, isn't it?? It's a brave new world for us, isn't it? So I've got a lovely one for you, Alison. So should we get started? What are you most likely to buy when you exit through the museum gift shop?Alison Bowyer: Oh, gosh, that's a really tough one. Definitely postcards. I'm also a sucker for a nice sort of pencil case or I do like museum jewellery. I have quite a lot of tattoo divine, especially museum themed jewellery. And I do also have a pushant for like, cute, fluffy things, even though I'm not a child. I'm 44 years old, but still.Kelly Molson: I'm loving this. Hello. At museums, Alison is your best gift when she comes because she's filling up her bag.Paul Marden: Think of all of those museum gift shops that you can go through with all the jewellery in because there are some amazing ones, aren't there, that have the jewellery stands in them.Alison Bowyer: That completely are. And I like to buy all my gifts for other people from museums if I can. So I am a big museum shopper.Kelly Molson: It's really lovely to do that. So just before Christmas, actually, I think it was. No, yeah, it was November time. I went over to the Ashmolean museum and their gift shop is really lovely, actually, and had a really good nosy around it in between meetings. And oh, my God, I bought so many of my Christmas gifts in there. It was brilliant. My best friends, I bought Edie a book called Bear at the Museum, which she adores. It's the most read book in our house at the moment, which is lovely, but I bought my mother in law jewellery. I bought her earrings from the  Ashmolean, which were absolutely lovely. So I'd never really thought about jewellery from a museum as well. There you go.Kelly Molson: Good tip for you from Alison today. Thank you. Right, Jenny, have you ever been pulled off by security for touching a museum exhibit?Jenny Hill: I haven't personally, no. But I did visit Manchester Museums with a friend and she was told off whilst were in the gallery because it was a really pretty furniture display and she just kind of automatically reached out a hand because she was like, “Oh, it's so pretty”, and instantly clocked by the security guard in the room and we very sheepishly left quite quickly.Kelly Molson: I love that. It's really hard, isn't it, if you're quite a tactile person as well, and you're like, “Oh”, because you would do that if you were in a shop, right?Jenny Hill: Exactly, yes. And she was just really excited by it was kind of just like an instant response. We were like, “Oh, no, shouldn't have done that.”Kelly Molson: I love that. One day you will get told off. I know this, and you need to come back on and share that with us. Okay? Right, I've got one for both of you now. So, Alison, I'm going to start with you. If you had to wear a t shirt with one word on it for the rest of your life, what word would you choose and why?Alison Bowyer: Oh, gosh, one word makes it really difficult because it can't be like a command.Kelly Molson: Well, it could stop.Alison Bowyer: Yeah, that's true.Kelly Molson: It is a command.Alison Bowyer: Because I have one at the moment that I'm quite fond of that just says “Be kind on it.”Kelly Molson: That's nice. All right, well, maybe I'll let you have two words.Alison Bowyer: You can't just say kind because that sounds really weird. And od, if I'm allowed to, it would “Be kind.”Kelly Molson: Okay, we'll allow to, for the purpose of this podcast, we'll allow to. That's nice. I like that one. Jenny, what about you?Jenny Hill: “Be curious” as well. I think that's something that always happy for our visitors to do when they're visiting, is to be curious. And I think it's just a good motto for life, isn't it, to always be thinking, always be inquisitive. Yeah.Kelly Molson: They're very good one, Paul, I'm going to ask you as well. Sorry, dropping you right in it. What about yours?Paul Marden: Learn. It has got to be if it's got to be one word, because one's a toughie. Learn.Kelly Molson: I like that. Somebody actually went with the brief. Thank you for obeying me.Paul Marden: Always. I know my place.Kelly Molson: Doesn't happen often. All right. Thank you, everyone, for sharing that. I appreciate it. Right, unpopular opinions. What have you prepared for us? Alison? Over to you first, I think.Alison Bowyer: Oh, gosh, this question made me so stressed.Kelly Molson: I'm so sorry.Alison Bowyer: No, no, it's fine. Not in a bad way, because I was like, oh, my goodness, I'm not sure what I have that's unpopular. And then I started googling unpopular opinions and I found all these weird lists of things that I never even considered were opinions, like people saying that C is the most redundant letter in the English language and you could replace all C's with S's and K's. Apparently, this is a commonly held unpopular opinion. So, yeah, then I started thinking, oh, goodness, I'm not really sure I'm up to this. I think what I came up with in the end was, which is going to make me unpopular, probably. I think pizza is the worst takeaway because it always survives cold and hard and the topping off, it falls off in transit, so you end up with a really dowsy meal.Kelly Molson: I love a pizza takeaway, though. I can't be down with you on this one because I love a pizza. It's because we never get to eat pizza. Oh, no. Actually, we've had pizza quite frequently recently because Edie loves it. But Lee has always been a bit like anti pizza takeaways. Okay.Paul Marden: I don't understand people that have the delivery of burgers and chips, because surely that is going to be cold by the time it gets to you and they're going to be rubbish chips.Kelly Molson: Yes. That's weird. Yeah, that is weird. I've never ordered a burger to be delivered to my house. That sounds strange to me. Ok, let's see what Twitter feels about your pizza. Unpopular opinion. Jenny, what about you?Jenny Hill: Oh, mine's similar on a food topic, which I feel is going to make me really unpopular. But something I always say that really annoys people is I really hate brunch, which I feel is very unpopular. But I'm a person that gets regularly hungry, so for me, waiting to go out for food in the morning is just not possible. So I will always have to have something to eat before I leave the house. So I'll always basically have breakfast and then before you know it, I'm eating again. So at that point, it's essentially lunch. So for me, brunch doesn't really exist.Kelly Molson: Okay. All right. Let me argue this point back to you, though. So if your girlfriends or whoever had asked you out for brunch, you'd have breakfast first, right? So you'd have like 08:00 breakfast and then you'd go for brunch. But if you're always hungry, doesn't that just mean you just eat lunch a little bit earlier? So brunch is like.Jenny Hill: I mean, I don't mind eating again, but it's just the concept, I guess, of calling it brunch just doesn't feel accurate for me by that point because I've already had a full breakfast.Kelly Molson: Okay. So I have a similar challenge with afternoon tea. I can't stand afternoon tea. Sorry if this upsets people. I don't understand why you get to a certain age and all of your every thing has to be, “Oh, should we go for afternoon tea?” No, why don't we just go to the pub like we used to? Go to the pub. Just go to the pub. What is it about afternoon tea? It's really annoying. And it's one of those. It's always at like 03:00 so what is it?Jenny Hill: It's not a meal. It's the same situation, but in the middle of the afternoon. I agree.Kelly Molson: Exactly. Okay, I can get on board with your brunch thing then. If you're on board with my afternoon tea thing. Good.Paul Marden: I'll take you afternoon tea and I'll raise you a kids party at 2:30 in the afternoon. It's neither lunch nor is it dinner. So I have to feed the child before. I have to feed the child afterwards. And then they're going to eat more food in the middle of the day.Kelly Molson: They are. They are. But I mean, Edie eats constantly so that it doesn't really matter. But kid's parties are amazing because buffet food is the best kind of food. I'm all down for a kid's party. You get what's it, what's not to love? You get party rings. There's always sausage rolls, which is like my number one top snack of all time. I'm here for the kid's parties. I'll just take the food. You can have all the kids. Okay. Should we talk about some serious stuff now?Paul Marden: Yeah. Shall we do that?Kelly Molson: I mean, it's still equally fun, but let's get on, shall we? We're talking about Kids in Museums today.Paul Marden: Which is really good, isn't it?Kelly Molson: It is a great topic.Paul Marden: I feel like I'm going to learn loads about Kids in Museums that I probably should already know as I'm a trustee of Kids in Museums. But I get to ask Alison all the questions that perhaps I've been a little bit too scared to ask for the last year because I might look a little bit silly if I don't know the answer.Kelly Molson: Yeah, and she has to answer you because that is what the podcast rules are.Paul Marden: Exactly. All right then, Alison, why don't we kick off, tell us a little bit about Kids in Museums and how the organisation was developed.Alison Bowyer: Kids in Museums has existed in one form or another for about 20 years now, which always astonishes me a little bit. So we started life when our founder, who at the time wrote to the Guardian, her name was Dea Birkett and she took her young child, I think she was about two years old, to the. I'm going to name and shame, I'm afraid, the Aztec's exhibition at the Royal Academy. And her son screamed at one of the massive Aztec statues, which, if I remember the exhibition correctly, was totally fair enough, because the statues were pretty. I mean, they were designed to be scary. That's one of the reasons why they built some of them. So they were thrown out of the Royal Academy because apparently he was disturbing the other visitors.Alison Bowyer: And then Dea wrote about this in her Guardian column, and what happened after that was the Guardian got a lot of letters coming from families telling Dee about similar experiences they'd had when they were out and about in museums with their children. And so a campaign was born to make museums better places for families, children and young people to visit. And to an extent, what happened on that day at the Royal Academy, that kind of remains our guiding principle. We are led by what visitors tell us about their experiences and we really strongly feel that museums, galleries, heritage sites, as kind of public space, should be for everyone, and everyone should be free to have that access, to feel comfortable when they're visiting and to have a really great time during your visit. So since then, the charity has evolved in various ways.Alison Bowyer: Today, we work across the whole of the UK and we will work with any kind of museum, gallery, heritage site, historic house, castle, any kind of outdoor heritage site to support them and lead them and encourage them to take action, to better places for families, children, young people. We're quite a small organisation. There's only five of us in total, but we feel like we achieve a lot. And last year we won the Museum and Heritage Award for being the Best Sector Support Organisation in the UK, which was a really amazing validation of our work. That definitely doesn't mean we're sitting on our laurels, though. We're always trying to spend time talking to families, talking to young people, talking to museums about how we can create new programmes, refine our existing programs to do better.Alison Bowyer: And we really want to be approachable, supportive, trusted experts. So we are doing the best by both the audiences we represent and the museums we try to support.Paul Marden: I think the size of the organisation. I know Vanessa, our chair, often says how much you, as a team, punch above your weight, because I don't think anyone would imagine that it was such a small team that was having such a loud voice. Is that a positive thing? That should be a positive thing. How much impact you have with such a small team? It's amazing.Kelly Molson: It was lovely at the MandH Show. I was at those awards, and I saw that win happen, and it was fantastic because the cheer from the crowd was pretty phenomenal. So congratulations on that.Alison Bowyer: Thank you. I was so sure weren't going to win. I wasn't there, and I'd gone to bed and gone to sleep.Kelly Molson: Woke up to some spectacular news.Alison Bowyer: Yeah, no, it really did. But, yeah, no, it was brilliant to get that recognition. It helps more people find out about us as well, which is always valuable.Paul Marden: So what is it that you offer museums, and how can they get involved more with what you're doing?Alison Bowyer: So we like to think that we've got something for pretty much any kind of museum, whatever your level of expertise in working with families, children and young people is whatever resources you have, how many staff you have. So we have a large, free offer, which is kind of the building blocks of what we encourage museums to do, and it's all centring on our manifesto. So our manifesto is something that we compile with children, families and young people. So every two years, which actually is something we're going to be doing this year, we will be out talking to museum visitors, doing a national survey, and finding out about what their good and bad experiences of museums are. And then we will take all that information and distil it down into six easy points that make up our manifesto.Alison Bowyer: And then that's a document that we think pretty much every museum should be able to commit to in their work. None of it is particularly complicated, or a lot of it doesn't need to be resource intensive. They're all pretty simple things that everybody should be able to do. So that's a really good starting point. And over a thousand museums have signed up to the manifesto and hopefully are using it in their work. I know we'll hear later from Jenny about how Craven Museum did that. Once you've signed the manifesto, there are lots of other things that you can get involved in.Alison Bowyer: We've got over 100 free resources on our website, which cover everything from ways to implement the manifesto at low cost, how to create self guided resources for families, right up to things like how you can engage children and young people with the climate emergency in your museum. So they cover a really wide range of things that we think are helpful to the teams in museums who are doing that work on the ground. We have a programme of UK training, so we run about trend training sessions a year for museum staff and we also work with museum development organisations on training and that's available to attend in person for a small ticket price or to buy us recordings.Alison Bowyer: Then every year we run a program called Takeover Day, which is a really brilliant, fun, exciting initiative where children and young people age between 0 and 25 go into museums and they do adults jobs for the day. When I say 0 to 25, I really mean that. We have toddlers doing museum Takeover Days, being given tasks like polishing glass museum cases with soft dusters, doing some cleaning and doing some object packing with, like, wooden blocks. They don't let them use loose on the actual collection.Paul Marden: With white gloves on. Kelly Molson: I'm laughing because Edie would be like up there licking the glass, not trying to clean it, thinking about my daughter. And Paul is smiling because he did one of these Takeover Days. Alison Bowyer: He did. Yeah.Kelly Molson: He's got a massive grin on his face.Paul Marden: We loved it. We got to be curators for the day. The kids got to run around the museum and then they went back into the learning suite of the Mary Rose Trust and they got told to design an immersive exhibition and they took ideas from all around the museum and designed out what they would do and such brilliant ideas that they had. It was such a great experience for them to get that kind of behind the scenes experience of what the museum is actually like.Alison Bowyer: So we see from Takeover Day that impact Paul has described. More than 70% of the young people who take part say that they would like to go back to a museum again as a result of being part of Takeover Day. And more than two thirds of the museums say that they now know more about what young people want from their museums and will make a change. So it's a really brilliant initiative. Then we obviously have the Family Friendly Museum Award, which is what we're going to be talking about with Jenny and I'll talk more about it later. And we've got some new programs coming online this year. So for the first time, we're working with a group of museums to help them appoint their first young trustees. So they're going to have people on their boards by the end of the programme age between 18 and 25. Alison Bowyer: And we also are running some programs with our own youth panel that they've designed. So we are working with them on a project which will hopefully show that museums can help address social isolation that young people experience when they move for education or new jobs.Kelly Molson: I think it's just take a pause there and just reiterate that there are five of you in the Kids in Museum's team. That is a pretty phenomenal menu of things that you offer to museums with just five people.Paul Marden: It's amazing, isn't it?Kelly Molson: Yeah. Let's just keep that up there as we're talking today. Thanks, Alison. Jenny, I want to come over and chat to you about Kids in Museums. How did you first kind of find out about them and get involved with what they're doing?Jenny Hill: So, I've been aware of Kids in Museums probably since I first started working in the sector around six, seven years ago now. I've been on their website, sort of seen their name come up and use some of their guidance when I was doing some of my initial sort of museum work. But I think they sort of really stood out to me. From about 2021, I got involved with some training with part of Museum Development Yorkshire, whose sector support as well, funded by Arts Council England, and they were running front of house cohort that I got involved with at the time. And we had a really great training session as part of that cohort with Laura Bedford from Kids inMuseums. She gave a really inspiring talk and session on creating family friendly interactions in museums, and that was really inspiring.Jenny Hill: I learned a lot during that session and really made me think, oh, we definitely need to be involved with this more. And then later on in the same year, I actually did an in person event. It was at the auction museum, and actually got to have a chat with Laura there about Kids in Museum's work. So that was really helpful. So, yeah, we kind of taken it from there. We signed up to the kids and museum manifesto following on from that, started to use those sort of principles in a lot of our front of house work and then behind the scenes as well. So, yes, Kim, have been on my radar for quite a while.Jenny Hill: But, yeah, it's sort of the past three years, really, that we've really sort of been taking on board a lot of their, using a lot of their resources and their ideas.Kelly Molson: It's lovely to see that it was indirectly as well. So obviously, Kids in Museums and what they do, it's good that they work in partnership with other organizations as well. So there was like a crossover there. Why did you enter the Family Friendly Museum award last year?Jenny Hill: So Craven Museum went through a National Lottery Funded redevelopment project between 2018 and 2021. So we completely redesigned our museum space. It used to be really inaccessible. It used to be at the top of Skipton town hall. There was no lifts up there. It was a really steep, horrible flight of stairs to get up there, and a lot of the interpretation was really outdated. A lot of it was not very accessible. So after our redevelopment project, which really put access at the centre of all of our work, and particularly looking at family audiences, this is a group that we really wanted to feel welcome to our museum. It's a group that we'd been working with a lot pre redevelopment and we really wanted to expand our work with this audience after we reopened.Jenny Hill: So after all this work was completed, we spent 2022 in sort of that post Covid year, finding our feet when maybe our visitors weren't quite as confident coming onto site and people were still getting to know that were reopened as well. So we had got a lot of people coming in going, “Oh, I didn't realise the work had finished.”Jenny Hill: That was sort of our sort of pilot year. Whereas last year in 2023, we really felt that we hit our stride and we've been piloting lots of new ideas in 2022 and embedding our family friendly ethos in our work. So it kind of was the year that work really felt like it came to fruition after having spent quite a few years developing it. So we thought, as a team, that we'd really like to sort of get this work hopefully recognised. And a family friendly museum award really felt like a way to do that and we really wanted it to sort of give a boost to our team as well, who'd been working hard on that. So, yeah, we just thought it would be a great year to get involved and we entered it with very low expectations.Jenny Hill: We thought, we're a small museum in the north of England. We weren't sure if we'd be, I don't know, sort of recognised for what we've been doing. So it was absolutely amazing to get recognition through the award in that way. It's fantastic.Kelly Molson: It feels like the recognition was for the team and for the people that were kind of working in it. Is that what was important to you about entering?Jenny Hill: I think so, yes. It was to prove to the team that the work that they'd been doing was really valid and really important. And I think in the museum sector, sometimes there's quite a lot of pressure on quite small teams. Like Alison was saying, there's only five people in Kids in Museums, and we're a small team, too. So I think having that recognition for the team just really helps them to know that, yes, they're doing a good job alongside the fact that it's obviously important to us to sort of share with the families that do come and use the museum, that it's going well.Kelly Molson: How difficult was it to write the entry? Because I think that there's often a barrier. I mean, certainly for us, there's been things that I've thought this would be great to enter, but I look at it and think, “Oh, my goodness, this is going to take me, like, four or five days to actually pull all of these things together and write it. And write it in a way that's appealing.” Did you find it was an easy process to go through?Jenny Hill: Actually, yes, we did find it, because I've done some applications that, yes, like you say, it can be quite as difficult, quite time consuming. I actually found the process for Kim really easy. So when the applications opened, members of the public were asked to nominate their favourite museum through a form on the Kim website. And we're really excited that we got some lovely nominations from families. And then kids and museum got in touch to let us know that we could make full application because we'd been nominated. So after that point, there was an online form that we could fill out that asked questions like, how have you made visiting your museum accessible to families, children and young people with additional needs? So that was one of the sort of longer questions on the form because we applied for the best accessible museum.Jenny Hill: And that was. Yeah, I think because of all the work that we've been doing and because that kind of ethos is embedded in our team, weren't talking maybe about a specific project that we'd been working on. As some applications, I feel like they're very sort of project focused, but having such a wide question like that meant that we could just talk about what we do every day at the museum, which is what's really important to us. Jenny Hill: So, yeah, there were nice questions to answer because they kind of felt like they gave us the space to talk about all of our work. So that was brilliant. And we also had the opportunity to upload some supporting materials so we could get some photos in there, send through some of our more visual. Yeah, I think we might have sent a video as well. So that was great, too, because it meant we could share lots of different aspects of our work.Kelly Molson: I love that. And spoiler alert even. You won. You're not only be the overall winner, you were the Best Accessible Museum winner as well.Jenny Hill: Yes. And I was still absolutely blown away by that.Kelly Molson: It's phenomenal. Congratulations.Jenny Hill: Thank you.Kelly Molson: Huge for that.Paul Marden: I wonder if the reason why you found it not too painful to do the application is because this is folded into you. This is running through your core. You're just telling people what you do every day, and so you're just telling the story of what you do all the time.Jenny Hill: I think that's how it feel. Yeah.Paul Marden: Alison, let's talk about. I remember sitting in the audience listening to you talking about all the different museums and what the judges said and what stood out, and I loved hearing those stories. So what was it, do you think, that stood out about the Craven Museum, about their entry for you?Alison Bowyer: So there were a few things about the Craven entry that really grabbed us. The first that I remember reading was that they had built our manifesto into their visitor charter, which is amazing because they are taking what we know, families, children, young people need and want, and they're building it into that work that they do every day. Like Jenny was saying, this is them living that way of working, which is incredible. And I think throughout the application, you got a real sense that all of their staff really cared about this. There was a page in the supporting document with the whole team on it saying just, like, one little thing about everyone in the team. And it was really amazing to see that because you felt that where in some museums, this is kind of just what the people in the learning team do.Alison Bowyer: That wasn't true at Craven. Everyone at Craven really cared about the families he visited, and I think that was really borne out in the family nominations we received. There were so many families who were telling us how much they loved going to the museum that their children saw it as, like, the highlight of their half term holiday. And they talked for weeks in advance about wanting to go, and the make and take craft seemed to be a particular hit. There were lots of families telling us that their children couldn't wait to go back and do that again. And the families who nominated the museum also, they sounded really proud that their town had the museum, which was really lovely. And also, I think, something that came through, which is a kind of sad reflection of the way the world is at the moment.Alison Bowyer: They really appreciated that all of that was available for free. When they're struggling to find things for their family to do that don't cost much, it felt like it was a really important thing to have that amazing resource in their town. And there were other little things, too. The museum is a safe space. The staff have amazing access training and training in inclusive language, and those things really help with kind of broadening out who can come into the museum and something that we spend quite a lot of time talking about. That isn't always something museums pick up on. And the Craven Museum website is just amazing, incredibly informative. I think it came in like the top five or something in the state.Alison Bowyer: The museum access website report in the whole of the UK for its access information, which a museum of its size is absolutely incredible. We spent so much time telling people that families like to plan, they like to look at a website in advance and find out about all the facilities, and Craven had actually done that and it really makes a difference. So were really pleased to see that. And then I think the final thing was the community case and how they had a space in the museum where local people, local organisations, could show things that were important to them. So they were really giving the local community the opportunity to see themselves in the museum and feel a sense of kind of belonging and ownership.Alison Bowyer: So I think all of those things came together and it was really clear that Craven Museum was going to be a really strong contender, which was why they shortlisted them. And then it was over to the families to judge them during the second stage of the award.Paul Marden: I'd say the fact that you gather together these real families to kind of go and look at the museums that have applied and pass on their feedback to the judges, I think is hugely powerful. Are there any little snippets that the families came back that you liked because there were so many lovely little comments that the families had given to us throughout the awards?Alison Bowyer: Yeah. So I think this quote is one that I think sort of sums it all up, really. The family judge said, “This is one of the most accessible, family friendly and welcoming museums I have ever visited across Britain. Although small compared to city museums, this has a lot to offer and is well laid out. It is very inclusive and their website is a particular strong point in terms of helping people to feel able and welcome to visit. People can visit the museum or attend an event knowing what to expect and what options are available. We especially love the fact that the spot, the mouse activity involved actual exhibits. Often this type of activity utilizes soft toys or pictures that have been placed around the site and end up being a distraction from the collection, meaning families don't get to actually experience the museum and look at the artifacts on display. But this activity in Craving Museum involved looking for things that were part of the carvings and objects. A great way for visitors to get more close to the collection. We all really enjoyed our visit.”Kelly Molson: That's so nice.Paul Marden: That's just brilliant feedback, isn't it?Alison Bowyer: Yeah.Kelly Molson: So nice.Paul Marden: And who would have thought having a website that told you information about the museum that was accessible could actually be of value to people?Alison Bowyer: I know. It's amazing, isn't it?Paul Marden: I know. I wonder who could help you with that.Kelly Molson: Yes, although, full credit, this is not one of our websites, but we definitely could help you with that. This is incredible. What lovely words. We've all got smiles on our faces for people that are listening to the audio of this and can't see us. Jenny, I'd really love to know. We go back to the reason that you entered and, you know, part of that is for the team, it's for the people that have worked really hard to make all of these amazing things happen. What has the impact been for your team since you won this award?Jenny Hill: I think it's just been the real boost that it's given the whole team. Like Alison was saying, everyone on the team really cared about this, know every single member of our team, not just maybe our learning team or our forward facing team, everyone cared about it. And I think it's just really inspired us to carry on with our work. We're all very conscious of the fact that working with families, working with accessibility, is never a finished process. You've not achieved it. So it's kind of really just. Yeah, it's given us that extra push to think, oh, actually, we're doing well in this and we really want to continue. We don't want to sit on our laurels, we don't want to take this for granted. We want to keep working on this. So I think that was really great.Jenny Hill: It was also particularly lovely just to know that it was real families who'd nominated us and that, like were just saying with the undercover judges, it was real families who came to visit us during that judging period and had these positive experiences. So that was just fantastic to know that it was visitors who wanted to sort of recognise the work we've been doing. So, yeah, I think that's been the main thing, really. It's just been amazing being recognised by the sector and our colleagues and given us all that kind of. That boost. Kelly Molson: Yeah. Like a validation of all of the work that gone into it. Jenny Hill: Definitely.Kelly Molson: And what about the impact from kind of general public? Has it had an impact on the visitors that are coming and what they're saying about it and then also the sector itself, you said it's been a good thing to be recognised within the sector.Jenny Hill: So it's definitely had a real impact with our visitors. So we've had some visitors coming to site who've said that they've specifically come because they heard about the Kids in  Museum award, which has been amazing. Some people coming from a distance to visit family in the area and saying, “Oh, when I was looking for things to do, I saw that you'd won the award. So I thought while I was visiting I'd pop in.” So that's been incredible, that impact with visitors and our sort of more regular local visitors who've come in, we've got the award up on a shelf behind the front desk. Our front of house team are so proud to have it there behind them while they're working.Jenny Hill: And we've had local visitors saying, “Oh, it's so amazing that our town's got a museum that's won this award and it's really lovely for local people that we've got this here.” So, yeah, that's been really nice for both bringing in new visitors and also for our local audience and then within the sector, it's just been so good for us, publicity wise, to sort of kind of get our name out there, really. So since the awards I've done, I was just counting up the other day, I've had seven different institutions in touch, asking for site visits to come and look at our work, have a chat with us about best practice. I've delivered another seven presentations either already or got them booked in for the rest of the year. And then obviously doing podcasts like this.Jenny Hill: And then we did a blog post as well for Send in Museums with Sam Bowen. I think that's the pipeline, hopefully. So, yeah, it's really kind of boosted us and we even noticed on social media, new institutions following us that maybe weren't aware of us before, after the award, people taking interest. So that's been really nice as a small local museum to have that kind of more bigger awareness from the sector.Kelly Molson: I love this so much. And this goes back to something that comes up time and time again on these podcast interviews is just how collaborative and how supportive the sector is and how much they want to work with each other. It's so lovely that you can now showcase the processes that you've been through and how you approach accessibility and be able to share that with others so that they can go on and do the same and make theirs better and better. Kelly Molson: I think it's so important to be able to do that, and it makes me love this sector so much. It really does. What top tips Jenny, would you give to any museums that are out there thinking, “We really want to enter the awards this year.” What would you say were your best top tips for them?Jenny Hill: This kind of links to something Paul was saying earlier, and it maybe sounds a bit cliched, but just be yourself. I think there's so much amazing work going on in the sector to do with making venues family friendly. And if you're passionate about what you do and you're working hard to make your venue inclusive, then that will shine through. So maybe sometimes not to overcomplicate it. So if you're doing the work and you really care, then that will make itself apparent. But I guess on a more practical level as well. Give yourself time with the application, don't try and rush it. We work very collaboratively at Craven Museum, so we really wanted the opportunity for all of our staff to be able to feed back into the application process and for lots of different people to read the draft, make comments, have their say.Jenny Hill: So by giving ourselves enough time to do that, it really made the process a lot smoother. And also, have a look at the Kids in Museum manifesto. It's a great place to just, if you haven't signed up already, sign up and if you have, just refresh yourself on it, because it can really help that framework for how to answer questions and things.Kelly Molson: Great tips. Thanks, Jenny.Paul Marden: So with that in mind, should we talk about this year's family friendly awards. Nominations Open on 19th March, I think. Is that right, Alison?Alison Bowyer: Yeah, that's right.Paul Marden: So what is it that museums can do to enter?Alison Bowyer: This year we have five categories, so there are three size categories, so best, small, medium and large museums, which will be organised by number of visits in the previous twelve months. That's all explained on our website. I won't go into that now. Then we have a category for the Best Successful Museum, which is the category that Craven won last year. And then our new category for this year is Best Youth Project, and that is a prize for museums who are doing long term, so work longer than six months with young people from the ages of 14 to 25. And what we're really looking for is work, that young people are given a sort of equal share in decision making, that they're really involved in shaping work.Alison Bowyer: And the guidelines for that category, along with all of the others, are in the guidance notes, which you can download from our website. So that would be the first thing to do. Sounds very obvious, read the guidance notes carefully because that should explain most of what you need to know about how to enter. So then there are two routes to entry, really. So what Jenny described, what happened to Craven, that's what happens to most museums. Families will nominate them. So for a family to nominate, they can just go on our website. It's really simple. They just have to tell us the name with the museum they're nominating and in a few sentences why they're nominating them. That's it. And then we will contact the museum and tell them they've been nominated and ask them to fill in the museum side of the application process.Alison Bowyer: We've got lots of tools to help museums promote nominations to families. So we've got social media assets for all channels and we've got some paper forms you can print out and put in your museum if you want to. Then the other alternative is if you want to enter but you for some reason don't have the time or the capacity to collect lots of family nominations, you can just enter as a museum on our website. That's totally fine. You just go on our website and you look at the museum application form. It's not essential to have a family nomination for the small museum and large category, but for the Best Successful Museum, we do ask that at least one family has supported your museum's nomination. Just because we feel for that category, it's super important that the museums are sort of supported by families for the provision that they offer in terms of accessibility. Alison Bowyer: What happens then is once we've got all the nominations together, we put together a shortlist. So the shortlisting panel is made up of. We normally have primary schools, young people from our youth panel, our staff and trustees, and sometimes representatives from museums who've won in the past. We all come together, we pick a shortlist and then we announce that in June. And then if you've been shortlisted over the summer, we will send out families like mystery shopper judges to your museum. So you won't know they're coming, they will just go on a visit and they will report back to us afterwards. And as Jenny says, it's their scores that choose the winners.Alison Bowyer: We don't intervene in any way. We go with whatever the families tell us, so they really are in control. And I think that's one of the lovely things about this award. It is genuinely an award that is given by people who visit museums and then we will announce all the results in October at our award ceremony.Paul Marden: We've talked a little bit about the mystery shoppers, the family judges, the undercover judges going in and actually looking at the museums. And that's how I first found out about Kids in Museums because I saw a sign when I was in the London Transport Museum suggesting that people could go on to nominate and also apply to be an undercover judge, which was how I found out about you first. This is a few years ago now. What can families do, though, if they want to be an undercover judge? Can they get involved?Kelly Molson: Oh, yeah.Alison Bowyer: Absolutely. So the best thing to do is to sign up on our website to our family mailing list. And then when we recruit the judges, which will be from June onwards, we will get in touch with you and let you know whereabouts in the UK. We need judges. It changes every year because we need the judges to be the museums on the shortlist. So it's a bit of a chicken and egg thing that we can't really start until we know where those museums are. But, yeah, the best thing to do is to sign up for our family mailing list.Paul Marden: Yeah. It's such a great opportunity, isn't it, for people to go and have a mission, for the kids to go in and have a mission to go and check these places out and be the ones that decide who gets the award. What a great opportunity for a family to go and find that out.Kelly Molson: Yeah. Don't tell them until they get home, though, because they'll just be shouting that out in the museum.Paul Marden: Do you know who I am?Alison Bowyer: We get lots of families tell us that their kids really enjoy it because they tell them they're, like, having to play detective or something and not be seen. And apparently it makes the day out really fun. So, yeah, it comes recommended.Paul Marden: So there's a call to action for all the families that might be listening to us to join the mailing list and get in there early to become an undercover judge.Alison Bowyer: Yeah. And I should say that we will cover travel expenses for the family judges, up to 30 pounds a visit. So we try to make it as accessible as possible to be a judge.Paul Marden: Completely brilliant opportunity.Kelly Molson: Thank you both for coming on and sharing this with us today. It's been so lovely to hear about it. We are going to put all of the details on how you can enter and how you can sign up to be a family judge as well on the show notes, but essentially go to Kids in Museum's website because they have everything that you need on there. We always ask our guests to leave us with a book recommendation. Something they love or know can be anything, a personal recommendation, a business book. Whatever you like. Jenny, what have you prepared for us today?Jenny Hill: Well, it's probably not one that people haven't heard of before, but I'm a massive Jane Austen fan, so I would always recommend Emma. Emma is probably my favourite by. Yeah, it's one of those ones that I always go back to. So, yeah, if you're thinking about you've never read Jane Austen before, you want to read some classics? I would always recommend that. Yeah, it's a lovely book.Kelly Molson: Oh, it's nice. We get so many people come on and recommend their favourite. Mean something magic about rereading the book over and over again is that you always find out something different every time you read it, regardless of how many times you've read it before. Thank you. Alison, what about you?Alison Bowyer: Gosh, I found it so hard to pick a favourite book. People who aren't watching won't be able to see the bookcase behind me.Kelly Molson: Very full.Paul Marden: Alison looks like a reader for the people that are listening.Alison Bowyer: It's not probably necessarily my favourite book, but a book that I really love by an author who I think deserves to best known in the UK is Standard Deviation by Katherine Heiney. She is absolutely hilarious and it's just a really beautiful portrait of a family living in New York who are all slightly eccentric and unusual in different ways. And I guess I'm really curious and lazy about people's lives. So I love books that kind of open the window onto different kinds of families. And yeah, she's just a wonderful author. All her books are wonderful, but that's my absolute favourite.Kelly Molson: Good recommendation. Thank you. And both of those books have never been recommended before as well, so they will go top of the list on our blog post that we have where we save off all of our guests recommendations. As ever, if you want to win these books, if you head over to our Twitter account and you retweet this episode announcement with the words I want Alison and Jenny's books, then you'll be in with a chance of winning a copy yourselves. Once again, thank you both for coming on. It's been so lovely to hear about the awards and the impact of winning the awards. Congratulations again on all of your hard work. It's just been wonderful to talk to you. So thank you.Jenny Hill: Thank you very much. It's been lovely speaking to you today.Alison Bowyer: Thank you so much. It's been a real pleasure to share the award and some of the other work we do.Paul Marden: And it's got us smiling all the way through, hasn't it, Kelly? It's been a lovely story to tell.Kelly Molson: I hope people can hear that in our voices, that we're smiling. They can hear that we're smiling if they don't watch them, nobody watches our videos. Hey, go and watch our videos.Paul Marden: There you go. See us grinning all the way through smiling.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast. The 2023 Visitor Attraction Website Report is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsDownload the report now for invaluable insights and actionable recommendations!

How can we use CLIR's help to protect our cultural heritage during climate change? Could telling stories be a big help in keeping our culture alive? Why must we work together to fight climate change and save our heritage? And can technology bring together businesses and academics to help with this?In this episode of This Anthro Life, we talk with Charles Henry, President of the Council on Library and Information Resources (CLIR), about protecting our cultural heritage during challenges like climate change. Charles explains how CLIR supports institutions with resources and funding to make their projects more impactful globally. We stress the importance of storytelling in preserving cultural memory and the need for cooperation to tackle climate change. We also discuss how competitive models between business and academia fall short and how digital technologies can help bridge these gaps.We discuss the serious threat climate change poses to our cultural heritage, including both physical artifacts and traditions. We talk about how things like rising sea levels, droughts, fires, and other climate-related events endanger our cultural history. Additionally, we mention the importance of digital technologies like the International Image Interoperability Framework (IIIF) in creating a neutral platform for collaboration and knowledge exchange, which is crucial for safeguarding cultural heritage against climate-related risks.Join us for an engaging and thought-provoking conversation with Charles Henry as we delve into the crucial topic of preserving our cultural heritage in the face of climate change. Discover how organizations like CLIR are making a global impact by providing resources and funding. Explore the power of storytelling in safeguarding cultural memory and the importance of cooperation in tackling climate challengesTimestamps:06:24 - Explanation of the Council on Library and Information Resources (CLIR) as a re-granting agency13:37 - The scale and fragility of our cultural legacy and the challenges of preserving it22:09 - Strategic plans in higher education lack emphasis on collaboration29:44 - The challenges of the climate crisis extend beyond spatial concerns39:57 - The concept of a digital library as a means of cultural preservation46:24 - Charles suggests an organic and biological approach to digital platforms for better decision-making00:02 - Introduction to the importance of interdependence and cultural heritage in the face of challenges like climate change14:33 - Building networks of people is difficult but crucial for collaboration24:42 - Loss of physical culture and intangible aspects of culture33:01 - The power of storytelling in addressing change and preserving culture Key Takeaways:Climate change can damage cultural stuff like old things and traditions because of floods and bad weather.The Council on Library and Information Resources helps libraries save old things by giving them money and support.Stories can bring people together, but the internet makes it hard for people to work together.The Digital Library of the Middle East is a good example of how the internet can save old stuff from dangerous places.Standards like the International Image Interoperability Framework help people share and learn about old things online.About This Anthro Life:This Anthro Life is a thought-provoking podcast that explores the human side of technology, culture, and business. Hosted by Adam Gamwell, we unravel fascinating narratives and connect them to the wider context of our lives. Tune in to https://thisanthrolife.org and subscribe to our Substack at https://thisanthrolife.substack.com for more captivating episodes and engaging content.Connect with Charles Henry:Website: https://www.clir.org/ Linkedin: https://www.linkedin.com/in/charles-henry-7007048 Twitter: https://twitter.com/CLIRnews/ Connect with This Anthro Life:Instagram: https://www.instagram.com/thisanthrolife/ Facebook: https://www.facebook.com/thisanthrolife LinkedIn: https://www.linkedin.com/company/this-anthro-life-podcast/ This Anthro Life website: https://www.thisanthrolife.org/ Substack blog: https://thisanthrolife.substack.com

Luke de Wolf joins me for a multi-episode conversation exploring the excellent book "Maps of Meaning" by Jordan Peterson. In this episode, we discuss the realm of the unknown and femininity, the impact of cultural memories, the story of Enuma Elish, and the balance between order and chaos. Luke de Wolf is the co-host of the Freedom Footprint Show. // GUEST // Twitter: https://twitter.com/northmythlukePodcast: https://www.youtube.com/@FreedomFootprint/ Book: https://www.jordanbpeterson.com/maps-of-meaning/// SPONSORS // In Wolf's Clothing: https://wolfnyc.com/NetSuite: https://netsuite.com/whatismoneyiCoin Hardware Wallet (use discount code BITCOIN23): https://www.icointechnology.com/Mind Lab Pro: https://mindlabpro.com/breedloveCrowdHealth: https://www.joincrowdhealth.com/breedloveBitcoin Apparel (use discount code BREEDLOVE): https://thebitcoinclothingcompany.com/Feel Free Tonics (use discount code BREEDLOVE): https://botanictonics.comCarnivore Bar (use discount code BREEDLOVE): https://carnivorebar.com/// OUTLINE // 00:00:00 - Coming up 00:00:31 - Intro 00:02:04 - Helping Lightning Startups with In Wolf's Clothing 00:02:51 - Introducing Luke de Wolf 00:03:05 - Mythology and Praxeology 00:04:54 - The Territory of Unknown and Uncontrolled 00:06:50 - The Precosmogonic Chaos 00:10:08 - The Realm of Unknown and Femininity 00:13:28 - The Beginning of Wisdom 00:16:23 - Individual Action and Cultural Memory 00:21:00 - Memories, Meta Stories and Action 00:25:42 - The Embodiment of Culture and the State 00:27:54 - Run Your Business from Anywhere with NetSuite 00:28:59 - Secure Your Bitcoin Stash with the iCoin Hardware Wallet 00:30:09 - The Known, the Unknown, and the Knower 00:35:34 - The Significance of Heroes and Entrepreneurs 00:38:35 - The Figurative vs. Literal Meaning of the Stories 00:43:47 - Enhance Your Brain Power with Mind Lab Pro 00:44:54 - Take Control of Your Healthcare with CrowdHealth 00:46:01 - The Election of Metaphors 00:49:15 - The Story of Enuma Elish 00:56:08 - Cultural Degradation of the West 00:57:25 - Marduk: the Hero of Enuma Elish 01:04:17 - Building Order Out of Chaos 01:10:22 - Balancing Order and Chaos 01:13:03 - Imitation of a Hero// PODCAST // Podcast Website: https://whatismoneypodcast.com/Apple Podcast: https://podcasts.apple.com/us/podcast/the-what-is-money-show/id1541404400Spotify: https://open.spotify.com/show/25LPvm8EewBGyfQQ1abIsE?RSS Feed: https://feeds.simplecast.com/MLdpYXYI// SUPPORT THIS CHANNEL // Bitcoin: 3D1gfxKZKMtfWaD1bkwiR6JsDzu6e9bZQ7 Sats via Strike: https://strike.me/breedlove22Sats via Tippin.me: https://tippin.me/@Breedlove22Dollars via Paypal: https://www.paypal.com/paypalme/RBreedlove// WRITTEN WORK // Medium: https://breedlove22.medium.com/Substack: https://breedlove22.substack.com/// SOCIAL // Twitter: https://twitter.com/Breedlove22WiM? Twitter: https://twitter.com/WhatisMoneyShowRumble: https://rumble.com/c/BreedloveInstagram: https://www.instagram.com/breedlove_22/TikTok: https://www.tiktok.com/@breedlove22LinkedIn: https://www.linkedin.com/in/breedlove22/All My Current Work: https://vida.page/breedlove22

Hello! On today's shivery little episode, Max is telling a story of an Icelandic spite-haunting, and Janey is telling us a cautionary tale about why it's always better to just do your damn chores the first time you're asked. Also, we won't be here next week, as we're taking a much needed week off! Enjoy! Janey's Sources - Sister and Brother“Winter Tales: Stories and Folktales from Around the World”, by Dawn Casey Max's Sources - The Sending“Even More Short & Shivery” by Robert D. San Souci “Revenge Zombies and Necropants: A Brief History of Icelandic Sorcery” by Eric Grundhauser for Atlas Obscura  “Ghosts, specters, and zombies in Icelandic folktales” by Helga Dís Björgúlfsdóttir / “Icelandic Fylgjur Tales and a Possible Old Norse Connection” by Eric Shane Bryan “Chapter 3 THE FYLGJUR OF ICELAND: ATTENDANT SPIRITS AND A DISTORTED SENSE OF GUARDIANSHIP” from “Icelandic Folklore and the Cultural Memory of Religious Change” by Eric Shane Bryan  “Monster of the Month: Sending - A Ghost of Substance” by John Rogers Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

Justin Boldaji is an artist and children's book author based in Seattle. Check out his designs for The East is a Podcast merch store! *This is a preview of the latest bonus episode. Sign up for $5 a month to access the entire conversation and help keep the show going!*    

Bio: Dr Alessandra Pino is an expert on intersections of the Gothic, food, and cultural memory. Alessandra was born in Hampstead, London, to an Italian mother and Venezuelan diplomat father, and she grew up in several different countries. She holds a BA in English Literature from Naples ‘L'Orientale'; an MA in Translation Studies and a PhD in Food, Cultural Memory and the Gothic, from the University of Westminster. She worked with a Michelin-starred chef for nearly ten years before entering the world of dark academia. Alessandra is co-author of A Gothic Cookbook, which digs into food themes and motifs in a series of classic and contemporary novels from the 19th century to the present day and the co-host of Fear Feasts, a podcast which analyses the horror genre- films and books- through the lens of food. https://unbound.com/books/a-gothic-cookbook/https://www.instagram.com/fearfeasts/?hl=enwww.anchor.fm/fearfeastspodcastWe have a Fear Feasts FaceBook page (this is where we publish our recipes for each episode too): https://www.facebook.com/fearfeastspodcasthttps://linktr.ee/aisforapplepod (With Neil Buttery and Sam Bilton) If you follow my podcast and enjoy it, I'm on @buymeacoffee. If you like my work, you can buy me a coffee and share your thoughts

On this edition of Parallax Views, Charles Henry, President of the Council on Library and Information Resources, joins us to discuss the importance of preserving cultural memory and history in the digital age. Massive amount of information, if not properly maintained in this new digital era, could be lost to the sands of time. This incredible loss of knowledge, like the burning of the Library of Alexandria, would be catastrophic.. Simply put, it would amount to a digital dark age. In this conversation we discuss this issue in-depth as well as how climate change and it's consequences pose an immense threat, even arguably the number one threat, to retaining human knowledge and cultural memory. We also touch upon issues such as film/cinema preservation, the disinformation/misinformation problem, the pros and cons of massive information proliferation in the digital age, the digital age's amplification of marginalized voices, the digital memory hole and the problem with the "once it's on the internet it'll be around forever" mentality, and much, much more!

About my guest:* The Cultural Memory of Georgian Glasgow* Connect with Craig* Rate the showAbout my guest:Craig Lamont is a graduate of the Universities of Strathclyde and Glasgow, with a diverse background in Creative Writing, English Literature, and Scottish Literature. His AHRC-funded PhD, ‘Georgian Glasgow: the city remembered through literature, objects, and cultural memory theory' (2015), was an interdisciplinary body of work central to a collaboration between the University of Glasgow and Glasgow Life, involving the major exhibition How Glasgow Flourished: 1714-1837 at the Kelvingrove Art Gallery and Museum in 2014. It won the 2016 Ross Roy Medal for the best PhD relating to Scottish Literature. His debut monograph, The Cultural Memory of Georgian Glasgow, was published in 2021 by Edinburgh University Press. Besides writing short fiction, Craig has also been commissioned as a historian by the National Trust for Scotland and Barclays Bank.Craig's postdoctoral work ranges from web development to bibliography in the realms of Allan Ramsay, bawrdy chapbooks, and Robert Burns, beginning in 2014 with the ‘Bawdry & Scottish Chapbooks' project (PI: Dr. Pauline Mackay). The following year Craig joined Prof. Murray Pittock's team in the Royal Society of Edinburgh funded project ‘Allan Ramsay and Edinburgh in the First Age of Enlightenment.' In this project, Craig co-authored an interactive map, ‘Edinburgh's Enlightenment 1680-1750' with the PI. In 2015-16 Craig worked as a Research Assistant at the Centre for Robert Burns Studies, compiling a new bibliography of Robert Burns editions from 1786 to 1802. This is part of the AHRC-funded project Editing Robert Burns for the 21st Century (PI: Prof. Gerard Carruthers), on which Craig worked as a research associate from 2017. From January 2018-August 2022, Craig became the lead research associate in another AHRC-funded project, The Collected Works of Allan Ramsay (PI: Prof. Murray Pittock). From 2017-2022, Craig served as the Secretary of the Association for Scottish Literature.As of 5 September 2022, Craig is Lecturer in Scottish Studies, based in Scottish Literature but working more widely in the Centre for Scottish and Celtic Studies. Get full access to Dispatches from the War Room at dispatchesfromthewarroom.substack.com/subscribe

Laura Pulido, Indigenous, Race, and Ethnic Studies and Geography; and 2022–23 OHC Faculty Research Fellow. I am analyzing how National Historic Landmarks represent process of white supremacy and settler colonization in the U.S. Based on both archival analysis and fieldwork, we explore both the racial and colonial processes inherent in the creation of these sites, as well as how they are represented. We identified four forms of representation: erasure, valorization, multiculturalism, and acknowledgement. We are publishing these findings as an historical atlas that illustrates how white innocence and denial have been instrumental in the territorial development of the U.S.

Artist Matt Battaglia talks about his new graphic novel, "House on Fire," and the role of comics as a warning and a milestone to fight memory holing history's dark events. Brian and Matt also discuss the absurd "Digital Blackface" argument. More info on Matt, and links to purchase House on Fire: https://t.co/pwtSax8nxc Get our new merch AND all of our bonus content! https://www.patreon.com/Lionsofliberty OR support us on Locals! https://lionsofliberty.locals.com/ Subscribe to the BOHRing podcast! https://redcircle.com/shows/bohring Check out the Lions of Liberty Store, including our hot-off-the-press Big Pharma shirts. https://www.lionsofliberty.store Learn more about your ad choices. Visit megaphone.fm/adchoices

Artist Matt Battaglia talks about his new graphic novel, "House on Fire," and the role of comics as a warning and a milestone to fight memory holing history's dark events. Brian and Matt also discuss the absurd "Digital Blackface" argument. More info on Matt, and links to purchase House on Fire: https://t.co/pwtSax8nxc Get our new merch AND all of our bonus content! https://www.patreon.com/Lionsofliberty OR support us on Locals! https://lionsofliberty.locals.com/ Subscribe to the BOHRing podcast! https://redcircle.com/shows/bohring Check out the Lions of Liberty Store, including our hot-off-the-press Big Pharma shirts. https://www.lionsofliberty.store Learn more about your ad choices. Visit megaphone.fm/adchoices

Artist Matt Battaglia talks about his new graphic novel, "House on Fire," and the role of comics as a warning and a milestone to fight memory holing history's dark events. Brian and Matt also discuss the absurd "Digital Blackface" argument. More info on Matt, and links to purchase House on Fire: https://t.co/pwtSax8nxc Get our new merch AND all of our bonus content! https://www.patreon.com/Lionsofliberty OR support us on Locals! https://lionsofliberty.locals.com/ Subscribe to the BOHRing podcast! https://redcircle.com/shows/bohring Check out the Lions of Liberty Store, including our hot-off-the-press Big Pharma shirts. https://www.lionsofliberty.store Learn more about your ad choices. Visit megaphone.fm/adchoices

The God Susanoo and Korea in Japan's Cultural Memory: Ancient Myths and Modern Empire (Bloomsbury, 2022) traces reiterations and reinterpretations of the deity Susanoo regarding his relationship with Korea vis-a-vis Japan. Through careful examination of mythological texts and other primary sources, David Weiss examines Susanoo's role in the construction of Korea's image as Japan's periphery. This book discusses how ancient Japanese mythology was utilized during the colonial period to justify the annexation of Korea to Japan, with special focus on the god Susanoo. Described as an ambivalent figure and wanderer between the worlds, Susanoo served as a foil to set off the sun goddess, who played an important role in the modern construction of a Japanese national identity. Susanoo inhabited a sinister otherworld, which came to be associated with colonial Korea. Imperialist ideologues were able to build on these interpretations of the Susanoo myth to depict Korea as a dreary realm at the margin of the Japanese empire that made the imperial metropole shine all the more brightly. At the same time, Susanoo was identified as the ancestor of the Korean people. Thus, the colonial subjects were ideologically incorporated into the homogeneous Japanese “family state.” The book situates Susanoo in Japan's cultural memory and shows how the deity, while being repeatedly transformed in order to meet the religious and ideological needs of the day, continued to symbolize the margin of Japan. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims' experiences through space and materiality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The God Susanoo and Korea in Japan's Cultural Memory: Ancient Myths and Modern Empire (Bloomsbury, 2022) traces reiterations and reinterpretations of the deity Susanoo regarding his relationship with Korea vis-a-vis Japan. Through careful examination of mythological texts and other primary sources, David Weiss examines Susanoo's role in the construction of Korea's image as Japan's periphery. This book discusses how ancient Japanese mythology was utilized during the colonial period to justify the annexation of Korea to Japan, with special focus on the god Susanoo. Described as an ambivalent figure and wanderer between the worlds, Susanoo served as a foil to set off the sun goddess, who played an important role in the modern construction of a Japanese national identity. Susanoo inhabited a sinister otherworld, which came to be associated with colonial Korea. Imperialist ideologues were able to build on these interpretations of the Susanoo myth to depict Korea as a dreary realm at the margin of the Japanese empire that made the imperial metropole shine all the more brightly. At the same time, Susanoo was identified as the ancestor of the Korean people. Thus, the colonial subjects were ideologically incorporated into the homogeneous Japanese “family state.” The book situates Susanoo in Japan's cultural memory and shows how the deity, while being repeatedly transformed in order to meet the religious and ideological needs of the day, continued to symbolize the margin of Japan. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims' experiences through space and materiality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The God Susanoo and Korea in Japan's Cultural Memory: Ancient Myths and Modern Empire (Bloomsbury, 2022) traces reiterations and reinterpretations of the deity Susanoo regarding his relationship with Korea vis-a-vis Japan. Through careful examination of mythological texts and other primary sources, David Weiss examines Susanoo's role in the construction of Korea's image as Japan's periphery. This book discusses how ancient Japanese mythology was utilized during the colonial period to justify the annexation of Korea to Japan, with special focus on the god Susanoo. Described as an ambivalent figure and wanderer between the worlds, Susanoo served as a foil to set off the sun goddess, who played an important role in the modern construction of a Japanese national identity. Susanoo inhabited a sinister otherworld, which came to be associated with colonial Korea. Imperialist ideologues were able to build on these interpretations of the Susanoo myth to depict Korea as a dreary realm at the margin of the Japanese empire that made the imperial metropole shine all the more brightly. At the same time, Susanoo was identified as the ancestor of the Korean people. Thus, the colonial subjects were ideologically incorporated into the homogeneous Japanese “family state.” The book situates Susanoo in Japan's cultural memory and shows how the deity, while being repeatedly transformed in order to meet the religious and ideological needs of the day, continued to symbolize the margin of Japan. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims' experiences through space and materiality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

The God Susanoo and Korea in Japan's Cultural Memory: Ancient Myths and Modern Empire (Bloomsbury, 2022) traces reiterations and reinterpretations of the deity Susanoo regarding his relationship with Korea vis-a-vis Japan. Through careful examination of mythological texts and other primary sources, David Weiss examines Susanoo's role in the construction of Korea's image as Japan's periphery. This book discusses how ancient Japanese mythology was utilized during the colonial period to justify the annexation of Korea to Japan, with special focus on the god Susanoo. Described as an ambivalent figure and wanderer between the worlds, Susanoo served as a foil to set off the sun goddess, who played an important role in the modern construction of a Japanese national identity. Susanoo inhabited a sinister otherworld, which came to be associated with colonial Korea. Imperialist ideologues were able to build on these interpretations of the Susanoo myth to depict Korea as a dreary realm at the margin of the Japanese empire that made the imperial metropole shine all the more brightly. At the same time, Susanoo was identified as the ancestor of the Korean people. Thus, the colonial subjects were ideologically incorporated into the homogeneous Japanese “family state.” The book situates Susanoo in Japan's cultural memory and shows how the deity, while being repeatedly transformed in order to meet the religious and ideological needs of the day, continued to symbolize the margin of Japan. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims' experiences through space and materiality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The God Susanoo and Korea in Japan's Cultural Memory: Ancient Myths and Modern Empire (Bloomsbury, 2022) traces reiterations and reinterpretations of the deity Susanoo regarding his relationship with Korea vis-a-vis Japan. Through careful examination of mythological texts and other primary sources, David Weiss examines Susanoo's role in the construction of Korea's image as Japan's periphery. This book discusses how ancient Japanese mythology was utilized during the colonial period to justify the annexation of Korea to Japan, with special focus on the god Susanoo. Described as an ambivalent figure and wanderer between the worlds, Susanoo served as a foil to set off the sun goddess, who played an important role in the modern construction of a Japanese national identity. Susanoo inhabited a sinister otherworld, which came to be associated with colonial Korea. Imperialist ideologues were able to build on these interpretations of the Susanoo myth to depict Korea as a dreary realm at the margin of the Japanese empire that made the imperial metropole shine all the more brightly. At the same time, Susanoo was identified as the ancestor of the Korean people. Thus, the colonial subjects were ideologically incorporated into the homogeneous Japanese “family state.” The book situates Susanoo in Japan's cultural memory and shows how the deity, while being repeatedly transformed in order to meet the religious and ideological needs of the day, continued to symbolize the margin of Japan. Raditya Nuradi is a Phd student at Kyushu University. He works on religion and popular culture, particularly anime pilgrimages. His research explores pilgrims' experiences through space and materiality. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/religion

For the first in an end-of-year extravaganza of episodes, we're back to discuss the work of legendary Chilean documentary filmmaker Patricio Guzman.  Active since the early '70s, Guzman started out as a chronicler of the Allende years, capturing the right-wing backlash and subsequent coup on camera before going into a decades-long exile in Europe. Since then, his films have dealt almost exclusively with the painful memory of the junta and its victims, the violent injustices of the Pinochet years and the condition of his homeland, turning away from the conventional third-cinema documentary form of his early work towards something increasingly poetic, metaphorical and personal. With Guzman's latest film, MY IMAGINARY COUNTRY, having its UK premiere at LFF 2022, and THE CORDILLERA OF DREAMS (the final part of a trilogy alongside NOSTALGIA FOR THE LIGHT and THE PEARL BUTTON) also going on general release this year, we (belatedly) take the opportunity to appraise his seminal filmography. Featuring covers of Victor Jara's El Cigarrito (Sam) and Manifesto (Emmett) Episode art by Sam.  FILMOGRAPHY The Battle of Chile (1975-79) Chile: Obstinate Memory (1997) Galaxy of Problems (2010) Nostalgia For The Light (2010) The Pearl Button (2015) The Cordillera of Dreams (2019) My Imaginary Country (2022) BIBLIOGRAPHY  Patricio Guzman, 'Politics and Documentary in People's Chile' (1977) in Cinema and social change in Latin America: conversations with filmmakers, ed. Julianne Burton (Austin, 1986). Inez Hedges, 'Obstinate Memory: Chris Marker's and Patricio Guzman's Pictures for a Revolution' in World Cinema and Cultural Memory (2015) Paula Lagos Labbé, 'Political and Affective Shifts in Contemporary Chilean Documentary' in Chilean Cinema in the Twenty-First Century, eds. Carl Fischer and Vania Barraza (Detroit, 2020) Belinda Small, 'Rethinking the Human, Rethinking the Essay Film: The Ecocritical Work of The Pearl Button' in Beyond the essay film: subjectivity, textuality, and technology, ed. Julia Vassilieva and Deane Williams (Amsterdam, 2020) Valeria Valenzuela, 'Giro subjetivo en el documental latinoamericano: De la cámara-puño al sujeto-cámara' (2011), https://www.lafuga.cl/giro-subjetivo-en-el-documental-latinoamericano/439 — Subscribe to Film Graze on your podcast app of choice, and leave us a positive rating and review if you enjoy the show. twitter.com/FilmGraze letterboxd.com/Film_Graze/ instagram.com/film.graze/ Produced by Sam Storey and Emmett Cruddas

Memory matters. Without a collective memory, you have no culture, and without culture you have no shared identity. Our shared cultural memories function to legitimize the present social order. This is why revolutionary movements work to erase our shared history so that the new order can emerge. Every totalitarian movement strategically attacks the nuclear family and the local church. Why? Because the church and the family are the main vehicles for cultural transmission and identity. Today we talk about what we can do to keep our identity as Americans strong and vibrant.

Shannon Bontrager is a professor of history at Georgia Highlands College in Cartersville. He teaches US history, world history, and Western civilization survey courses and writes about cultural memory and American empire in locations where the military and civilian populations overlap. His new book, Death at the Edges of Empire: Fallen Soldiers, Cultural Memory, and the Making of an American Nation, 1863-1921, follows the unfolding technology and methodology of how Americans remembered (and forgot) the military dead from the Civil War to the First World War. --- Support this podcast: https://anchor.fm/out-of-the-blank-podcast/support

Update 1: The name of the author of the book about Rayatz in Warsaw is not Briggs, it is Bryan Mark Rigg.Chatcha Feign was not killed in Warsaw, he and Yehuda Eber were burnt alive in the same Riga shul as Itche der Masmid and many other Jews. On yud kislev, 5742. Needs confirmation.The Rebbe's grandmother Rochel Yanovski was murdered by the nazis in Nikolayev. She was at that point blind and alone (everyone else was either arrested or dead). The last one arrested was her son-in-law Shmuel (arrested in the summer of 1941, and interrogated about the sukkah he had built in the courtyard… while the German tanks rolled toward Nilkolayev).Update 2: Kedoshim should be memorialized, Chatcha Feign, Yehuda Eber and many, many others. But also Admiral Wilhelm Canaris and Major Ernst Bloch who saved the Rayatz, Rashag and their families.Update 3: What kind of man it takes in the thousands of hours of his speeches not to say a one word about his murderered grandmother? Asking honestly? And not like every minute of his sichos counted, 95% of his 4 hour sichos were slogans that he repeated in the loop for years, I heard that myself. But no time to mention the martyrs, even his own family?Update 4: See companion post Hitler Lives and the Holocaust omission in America. Get full access to mentalblog at mentalblog.substack.com/subscribe

Interdependence is the idea that the wellbeing of our world and for our physical and emotional selves depends on those around us, yet when we find ourselves up against a challenge bigger than ourselves, our sense of interdependence becomes stronger. When we move that scale even larger (i.e. a global climate crisis), interdependence becomes paramount. Climate change not only affects our everyday lives, but affects cultural history and cultural artifacts such as books and architectural styles, as well as more ephemeral practices like theater, song and language. How well we are able to face these challenges has to do with how we tell stories. How well we tell stories depends on what we choose to protect, preserve, and make prosper in our cultures. If you've used the Internet in the last 20 years, or 20 minutes, you know that there isn't a lack of information or stories online, but how much of our and others' cultural heritage exists digitally, how accessible is it, and who is able to contribute?These are questions that Charles Henry engages with in this episode. Charles is the president of the Council on Library and Information Resources (CLIR), a nonprofit that works with libraries, cultural institutions, and higher learning communities to improve research, teaching, and learning environments. Check out the Council on Library and Information Resources: https://www.clir.org/about-us/history/Digital Library of the Middle East, one of the world's largest online archives of Middle Eastern and North African artifacts. https://www.clir.org/2020/07/clir-and-stanford-libraries-announce-digital-library-of-the-middle-east-platform/The HBCU Library Alliance Partnership, which is a long-term partnership to foster awareness of and access to collections held by Historically Black Colleges and Universities. https://www.clir.org/initiatives-partnerships/hbcu-library-alliance/

In this episode I talk with Daniel Y. Kim, Associate Professor of English and American Studies at Brown University, about his 2020 book Intimacies of Conflict: Cultural Memory and the Korean War, published by New York University Press. Though often considered “the forgotten war,” lost between the end of World War II and the start of the Cold War, the Korean War was, as Daniel Y. Kim argues, a watershed event that fundamentally reshaped both domestic conceptions of race and the interracial dimensions of the global empire that the United States would go on to establish. He uncovers a trail of cultural artefacts that speaks to the trauma experienced by civilians during the conflict but also evokes an expansive web of complicity in the suffering that they endured. Taking up a range of American popular media from the 1950s, Kim offers a portrait of the Korean War as it looked to Americans while they were experiencing it in real time. Kim expands this archive to read a robust host of fiction from US writers like Susan Choi, Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean author Hwang Sok-yong. The multiple and ongoing historical trajectories presented in these works testify to the resurgent afterlife of this event in US cultural memory, and of its lasting impact on multiple racialized populations, both within the US and in Korea. The Intimacies of Conflict offers a robust, multifaceted, and multidisciplinary analysis of the pivotal—but often unacknowledged—consequences of the Korean War in both domestic and transnational histories of race. Winner, 2020 Peter C Rollins Prize, given by the Northeast Popular & American Culture Association. Adhy Kim is a doctoral candidate in Comparative Literature at the University of North Carolina at Chapel Hill. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode I talk with Daniel Y. Kim, Associate Professor of English and American Studies at Brown University, about his 2020 book Intimacies of Conflict: Cultural Memory and the Korean War, published by New York University Press. Though often considered “the forgotten war,” lost between the end of World War II and the start of the Cold War, the Korean War was, as Daniel Y. Kim argues, a watershed event that fundamentally reshaped both domestic conceptions of race and the interracial dimensions of the global empire that the United States would go on to establish. He uncovers a trail of cultural artefacts that speaks to the trauma experienced by civilians during the conflict but also evokes an expansive web of complicity in the suffering that they endured. Taking up a range of American popular media from the 1950s, Kim offers a portrait of the Korean War as it looked to Americans while they were experiencing it in real time. Kim expands this archive to read a robust host of fiction from US writers like Susan Choi, Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean author Hwang Sok-yong. The multiple and ongoing historical trajectories presented in these works testify to the resurgent afterlife of this event in US cultural memory, and of its lasting impact on multiple racialized populations, both within the US and in Korea. The Intimacies of Conflict offers a robust, multifaceted, and multidisciplinary analysis of the pivotal—but often unacknowledged—consequences of the Korean War in both domestic and transnational histories of race. Winner, 2020 Peter C Rollins Prize, given by the Northeast Popular & American Culture Association. Adhy Kim is a doctoral candidate in Comparative Literature at the University of North Carolina at Chapel Hill. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In this episode I talk with Daniel Y. Kim, Associate Professor of English and American Studies at Brown University, about his 2020 book Intimacies of Conflict: Cultural Memory and the Korean War, published by New York University Press. Though often considered “the forgotten war,” lost between the end of World War II and the start of the Cold War, the Korean War was, as Daniel Y. Kim argues, a watershed event that fundamentally reshaped both domestic conceptions of race and the interracial dimensions of the global empire that the United States would go on to establish. He uncovers a trail of cultural artefacts that speaks to the trauma experienced by civilians during the conflict but also evokes an expansive web of complicity in the suffering that they endured. Taking up a range of American popular media from the 1950s, Kim offers a portrait of the Korean War as it looked to Americans while they were experiencing it in real time. Kim expands this archive to read a robust host of fiction from US writers like Susan Choi, Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean author Hwang Sok-yong. The multiple and ongoing historical trajectories presented in these works testify to the resurgent afterlife of this event in US cultural memory, and of its lasting impact on multiple racialized populations, both within the US and in Korea. The Intimacies of Conflict offers a robust, multifaceted, and multidisciplinary analysis of the pivotal—but often unacknowledged—consequences of the Korean War in both domestic and transnational histories of race. Winner, 2020 Peter C Rollins Prize, given by the Northeast Popular & American Culture Association. Adhy Kim is a doctoral candidate in Comparative Literature at the University of North Carolina at Chapel Hill. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/east-asian-studies

In this episode I talk with Daniel Y. Kim, Associate Professor of English and American Studies at Brown University, about his 2020 book Intimacies of Conflict: Cultural Memory and the Korean War, published by New York University Press. Though often considered “the forgotten war,” lost between the end of World War II and the start of the Cold War, the Korean War was, as Daniel Y. Kim argues, a watershed event that fundamentally reshaped both domestic conceptions of race and the interracial dimensions of the global empire that the United States would go on to establish. He uncovers a trail of cultural artefacts that speaks to the trauma experienced by civilians during the conflict but also evokes an expansive web of complicity in the suffering that they endured. Taking up a range of American popular media from the 1950s, Kim offers a portrait of the Korean War as it looked to Americans while they were experiencing it in real time. Kim expands this archive to read a robust host of fiction from US writers like Susan Choi, Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean author Hwang Sok-yong. The multiple and ongoing historical trajectories presented in these works testify to the resurgent afterlife of this event in US cultural memory, and of its lasting impact on multiple racialized populations, both within the US and in Korea. The Intimacies of Conflict offers a robust, multifaceted, and multidisciplinary analysis of the pivotal—but often unacknowledged—consequences of the Korean War in both domestic and transnational histories of race. Winner, 2020 Peter C Rollins Prize, given by the Northeast Popular & American Culture Association. Adhy Kim is a doctoral candidate in Comparative Literature at the University of North Carolina at Chapel Hill. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/asian-american-studies

In this episode I talk with Daniel Y. Kim, Associate Professor of English and American Studies at Brown University, about his 2020 book Intimacies of Conflict: Cultural Memory and the Korean War, published by New York University Press. Though often considered “the forgotten war,” lost between the end of World War II and the start of the Cold War, the Korean War was, as Daniel Y. Kim argues, a watershed event that fundamentally reshaped both domestic conceptions of race and the interracial dimensions of the global empire that the United States would go on to establish. He uncovers a trail of cultural artefacts that speaks to the trauma experienced by civilians during the conflict but also evokes an expansive web of complicity in the suffering that they endured. Taking up a range of American popular media from the 1950s, Kim offers a portrait of the Korean War as it looked to Americans while they were experiencing it in real time. Kim expands this archive to read a robust host of fiction from US writers like Susan Choi, Rolando Hinojosa, Toni Morrison, and Chang-rae Lee, and the Korean author Hwang Sok-yong. The multiple and ongoing historical trajectories presented in these works testify to the resurgent afterlife of this event in US cultural memory, and of its lasting impact on multiple racialized populations, both within the US and in Korea. The Intimacies of Conflict offers a robust, multifaceted, and multidisciplinary analysis of the pivotal—but often unacknowledged—consequences of the Korean War in both domestic and transnational histories of race. Winner, 2020 Peter C Rollins Prize, given by the Northeast Popular & American Culture Association. Adhy Kim is a doctoral candidate in Comparative Literature at the University of North Carolina at Chapel Hill. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

"What we have is a series of images of a pseudo-world, which combine in the mind of the individual to create a worldview detached from actuality."—Colin Alexander We are joined by Dr Colin Alexander, Senior Lecturer in Political Communications at Nottingham Trent University, for a detailed conversation on the UK government's use of British wartime-style propaganda during (particularly the early days of) the COVID-19 pandemic. In March 2020, Dr Alexander published a short video entitled "Coronavirus and the British Wartime Propaganda Playbook"—as part of a series of pieces on propaganda during the pandemic—and it is that presentation which serves as the springboard for our conversation today. "Dr Colin Alexander is Senior Lecturer in Political Communications within the School of Arts and Humanities. He works in Communication and Society subject team and contributes teaching to the BA Joint Honours Humanities, BA Media Communication and Culture and the MA Media and Globalisation degree programmes." [For show notes please visit https://themindrenewed.com]

"What we have is a series of images of a pseudo-world, which combine in the mind of the individual to create a worldview detached from actuality."—Colin Alexander We are joined by Dr Colin Alexander, Senior Lecturer in Political Communications at Nottingham Trent University, for a detailed conversation on the UK government's use of British wartime-style propaganda during (particularly the early days of) the COVID-19 pandemic. In March 2020, Dr Alexander published a short video entitled "Coronavirus and the British Wartime Propaganda Playbook"—as part of a series of pieces on propaganda during the pandemic—and it is that presentation which serves as the springboard for our conversation today. "Dr Colin Alexander is Senior Lecturer in Political Communications within the School of Arts and Humanities. He works in Communication and Society subject team and contributes teaching to the BA Joint Honours Humanities, BA Media Communication and Culture and the MA Media and Globalisation degree programmes." [For show notes please visit https://themindrenewed.com]