Podcast appearances and mentions of David Cope

David Cope runs his own Consultancy called 600 Strategy and describes himself as a strategy and change adviser. Sustainability is his speciality, and his work includes helping estates, including the Duchy of Cornwall, to become carbon literate.In this episode, David explains how estates can be "heroes" in the battle against climate change and how this has a "ripple" effect when communities are engaged with their work. 

The guys bring in friend, disc golfer and cannabis connoisseur David Cope to the mic to get the latest with the Fox Valley Metro Disc Golf Club, and to get serious about the role cannabis has and should play on and off the course.  David has experience as a long time professional budtender and hosts a live Youtube show called 'Peace, Love and Cope'.  He gives some invaluable insight and knowledge about this unfortunately stigmatized plant.   They discuss some of the ways cannabis can/should be used on the course, but also medically as a viable treatment and as a very powerful symptom and pain reliever.  David surprises everyone with some nuggets from shows past and proves that he has been keeping up on the UD episodes.The guys also finish the Destination Penetration bracket, but things got very real with a twist!Sean geeks out about a different podcast, and Alex doesn't really care what happens, as long as he gets to go camping.  Ryan will never trust another guest of the show, and Jason pulls back the curtain to his maniacal mind and forces the guys to play a game he just made up while sitting in traffic. 

We're getting in the biodiversity groove ahead of International Biodiversity Day on May 22nd. We speak exclusively to the acting Executive Secretary of the UN's Convention on Biological Diversity, David Cooper. Then we'll be hearing from IFAD's lead on biodiversity Marie Aude Even. After that, in honour of the UK coronation we're taking a little bit of a regal detour. We'll be talking to David Cope, Head of Sustainability at the Duchy of Cornwall. We have a special report for World Bee Day and the next part of our Global Donor Platform miniseries. Then we talk to the people behind Treedom, the app that allows you to plant a tree from a distance and follow the project on line. And Ento Insect Solutions in Kenya will be talking about insects for animal feed. This is Farms.Food.Future – a podcast that's Good for You, Good for the Planet and Good for Farmers brought to you by the International Fund for Agricultural Development. For more information: https://www.ifad.org/en/podcasts/episode43 http://www.cbd.int http://www.ifad.org/climateandenvironment http://www.duchyofcornwall.org http://www.donorplatform.org http://www.treedom.net

This week we welcome editor, writer and director Jae Shim on the show to talk about making his first feature film Opus Cope about composer and author David Cope who spent his life teaching computers how to make music. Jae talks about how he discovered David and his work and how he formed his first feature blending documentary and fiction together through the film. After that we play another round of You're the Expert, enjoy! Order The Alternate on Itunes Out Now: https://itunes.apple.com/us/movie/the-alternate/id1640576609?ls=1 For 20% off your Jambox subscription use code MMIH @ jambox.io Check out the ISA at: www.networkisa.org

Our guest today describes himself as The Happiest Man Alive, and while Walt and Jodielynn may not have totally bought into that line, it did give us the chance to explore a new perspective. David Cope's approach to resolving issues of pain is to "normalize" them, meaning to rethink them from a perspective that says, "I'm not the only one going through this experience. Lots of people go through a similar experience every day."  He believes that people using this approach can release persistent beliefs of victimization about negatively impactful events from earlier in their lives. He claims that in this way, people can actually embrace pain rather than suppressing it. The unstated question that kept going through Walt's mind throughout the interview was this: if he is so happy, why doesn't David ever smile? This interview will challenge you, as it challenged us. His colleague's course can be found at:  https://ahappinesscourse.com/ Follow LOA Today: https://www.loatoday.net/follow

In this episode, David shares with us how experiencing the loss of a 20 year marriage (with 4 kids) pushed him into a spontaneous awakening. It was not without strife & David realized his unresolved emotions were fuelling his autoimmune disorders... At the root of all this David discovered that his attachments were what needed to change. David shares how to do this, what his spiritual journey looked like + finally, how to properly feel your feelings.   Connect with David   Connect with Danielle

David's "WHY" is to help individuals resolve chronic diseases and autoimmune disorders. He recognizes that chronic stress, which disables the body's natural ability to self-repair, is the fundamental cause of autoimmune disorders. He argues that by working on the source of stress rather than on their illness, individuals will naturally outgrow their chronic disease as their body self-repairs and becomes healthy. WOW! Listen to his "Belief!" www.anewlc.com

Please take a moment to check out all his music on his bandcamp page @  davecope.bandcamp.comSpotify Playlist “Prog Rock Albums” Link - https://spoti.fi/2RiOHEowww.rightfiction.com

Estamos de volta com o terceiro episódio de Ergo Proxy! Então há um mundo fora de Romdeau? O que será que aconteceu com Vincent? Conosco nessa jornada estarão Miwa e Miyuki do Not So Kawaii! Não se esqueça de nos seguir no Twitter e no Instagram para conteúdo extra sobre o anime!Vitrine por Bella Souto.O Felipe tirou o raciocínio sobre IA na arte do livro Homo Deus- Uma Breve História do Amanhã.Você pode encontrar mais sobre o trabalho de David Cope aqui.

In today's episode, I welcome Christopher John Garcia! Chris has had an amazing career journey as a museum curator and historian for the Computer History Museum, as well as podcaster and painter, and he talks about everything from AI-generated art to his podcast that discusses pieces of artwork in under three minutes. (Fun fact: the cover image for this episode is of one of Chris' original pieces of artwork!)   Get in touch with Christopher John Garcia: https://www.facebook.com/JohnnyEponymous | https://www.instagram.com/johnnyeponymous/ Support Artfully Told: www.paypal.me/elevateart Artfully Told links: www.facebook.com/artfullytold | www.artfullytold.podbean.com | elevateartskc@gmail.com Get a free audiobook through Audible!  http://www.audibletrial.com/ArtfullyTold Schedule your own interview as a featured guest with Artfully Told! https://calendly.com/artfullytold/podcast-interview   Episode 52 - Christopher John Garcia Lindsey Dinneen: Hello, and welcome to Artfully Told, where we share true stories about meaningful encounters with art. [00:00:06] Krista: I think artists help people have different perspectives on every aspect of life. [00:00:12]Roman:  All I can do is put my part in to the world. [00:00:15] Elizabeth: It doesn't have to be perfect the first time. It doesn't have to be perfect ever really. I mean, as long as you, and you're enjoying doing it and you're trying your best, that can be good enough. [00:00:23] Elna: Art is something that you can experience with your senses and that you just experiences as so beautiful.  [00:00:31]Lindsey Dinneen:  Hello, and welcome back to another episode of Artfully Told. I'm your host Lindsey, and I am delighted to have as my guest today, Christopher John Garcia, who is a curator, historian, and podcaster, and I'm just so excited to chat with him all about art and all the different ways that he has engaged with art and that he's currently still doing. And so thank you so much for being here, Chris. I really, really appreciate it. [00:01:00] Christopher John Garcia: Yeah, thanks so much for having me always glad to chat. [00:01:03] Lindsey Dinneen: Of course. If it's about art, I'm in. [00:01:05]Christopher John Garcia: Yeah, absolutely. [00:01:07] Lindsey Dinneen: Yes. Well again, thanks for being here. And I would just love if you would share maybe a little bit about your background, how you got involved in your various art forms, and maybe a little of where you are today, too. [00:01:21] Christopher John Garcia: Cool. Well, it's started long, long ago. 1999. I became a curator at the Computer History Museum and my focus was on computer graphics, music and art with an emphasis on early computer art. So 1950s through about 1980. And by going into that, you know, I had a little bit of an art history background. I minored in it in college and I've always been an art nerd. And I ended up starting a couple of podcasts that were actually centered around early computer art. One was called " Engineers and Enthusiasts," which is on a hiatus as soon as I can find all my files. But the second one is a "Three-Minute Modernist," which is, I take a single artwork usually, and I break it down in three minutes as sort of a, an emotional impact statement is what I do in three minutes, which can be a lot harder for big pieces than little you'd be surprised. But yeah, and so all of that. Then for some reason, I ended up staying home a lot in 2020, and I decided, you know, maybe I should become a painter. And so I, you know, I had never painted before. And so I decided, well fine. And I started doing a lot of my own paintings, which are semi-abstract expressionists works. What I usually do is I just squeeze paint directly onto paper, put another piece on top of it and then peel them apart. And then I'll do this with several sheets. So it's sort of a combination printing, painting methodology. But yeah, so it's, I'm your basic all around art nerd. [00:02:51] Lindsey Dinneen: I love it. Okay. Well, I am so excited to hear more about all of the different things, but especially the podcast. I'm so intrigued by that concept. I love it. What a challenge too, so kudos to you. But yeah. Okay. So breaking down artwork and sort of talking about it and having the constraint of three minutes, first of all, where did that idea come from? And then I guess second of all, how hard is that? [00:03:16]Christopher John Garcia: Well, the idea actually came from a Doctor Who podcast. There is a Doctor Who podcast called "Two-Minute Time Lord." And it is it takes a Doctor Who episode or a topic surrounding Dr. Who and does a two minute episode. That's basically what you would say around the water cooler. And I figured, you know what? If it's good enough for the goose, it's good enough to be stolen by the gander. And I decided to take that concept and apply it to art because one, art has sort of discreet chunks. And I was seeing a lot of works that were-- I wouldn't say small-- but they were works that you could sort of come up with at least a nugget that you could expand on in for a couple of minutes without problem. [00:04:03] And I learned that by looking at a discreet portion, it gave you one, a chance to really sort of look across the board. You could look at one piece from various areas, but two, it allowed you to go really fast. And so my proof of concept was a good five episodes before I released anything and realized, yeah, this will work. And then I realized that if I kept it to just modern and contemporary art, it would allow me to single out one area instead of going all the way around the world, having to deal with all the things, 'cause once you get into the more realist stuff and the movement and the genre works, you kind of get, you have to go longer. But with the contemporary stuff, you could more deal with the impact of the work on particularly, in this case, me and how it emotionally triggered sensations and feelings and take it sort of a little bit out of a, sort of a more academic realm and into a realm of art appreciation that I really love. Things like, you know, Sister Wendy, for example,  used to be a favorite of mine, but there's not really one of those for contemporary arts, so much that deals directly with individual pieces. And, you know, I figured it'd be a great place to go. And I realized that "art podcast" is a crowded field. And I said, me too. [00:05:28]Lindsey Dinneen:   Indeed. Well, good for you. And again, I love that concept and I just think that's so cool. So, okay. So in dealing with modern and contemporary art, are you-- just out of curiosity-- are you going to galleries and being inspired by something particular or are you finding things on the internet or how is your process of deciding which art to kind of feature and unpack? [00:05:54] Christopher John Garcia: Well, I have a very complex algorithm to do that. Random. Basically, yeah, I go to a lot of museums. In particular, I go to SF MOMA, the Anderson collection at Stanford, the Cantor Art Museum when I can get there to moment itself. And I also have a massive collection of photographs because I'm that guy at a museum who takes a picture of everything. So it's really based largely on what I encounter typically at museums. I do some web stuff. In particular, I'm starting to do more stuff with Instagram artists who I meet typically through Clubhouse who are working. And I find pieces that really resonate with something I speak of a lot. Like the next issue I'm doing is about a work that very much reminds me of two of my favorite artists, Lichtenstein and then Sam Francis, and it looks like what happened if they were to work together. [00:06:46]But yeah, it's all over the place.  One of our recent episodes was about the work of Sol LeWitt that they turned into an app. I think it was by The Met, but it might've been a sort of an associated group that was how Sol LeWitt and his work-- and it's this very contained app that actually gives you a lot of different views into how Sol LeWitt goes. So it's a little bit across the board. I do some video art, a little bit of music, but I tend towards sound art and soundscape type stuff. And sort of looking at how they are still, it's all about the effect of you more emotionally, but also there's sort of what I call the emotional intellect, which is a thought that you have that isn't necessarily logical or reasonable, but it is a thought that provokes that same sort of region. [00:07:42]Lindsey Dinneen: Cool. Very cool. Well, and you know, random is good too. I like complex algorithm. That was entertaining. So, okay. So yeah, that sounds like a really interesting way to go about it in terms of, you know, it's, it's also just like, well, what is speaking to me right now? And then, so I'm curious, in your process for these episodes, I know you've talked about maybe unpacking it sort of on an emotional level in what it evokes, but are you also going into the history? Are you looking into the context behind it from the artist's point of view or mostly just sticking with your own personal interpretation? [00:08:20]Christopher John Garcia: You kind of have to do both. And you know, for example, if I talk about "Guernica" by Picasso, you kind of have to say the Spanish Civil War happened. But you don't necessarily have to go into specifically Picasso's long history in Cubism, his blue period, but you kind of have to make nods toward them . But what's really fascinating in a work like-- "Guernica" is a great example, and an episode I haven't done-- is when you pull out an aspect that has an emotional impact on you and for me, it's that, that wailing mother with her hands up and that sort of disjointed head that emotional impact also triggers an idea that, "Oh, well, this actually very much speaks to Picasso's Cubist period, this very much has this sort of the blue period emotional impact that he carried through the early part of his career." So it sort of naturally flows out of that, that you do deal with some of the, the history and the technique aspect. I don't deal deeply with technique most of the time, largely because art technique is still a little bit mysterious to me, but I really do try. You know, art has, if I decided to go in all art history nerd, like I often do with my wife, sadly it would be a six hour podcast. [00:09:44]Lindsey Dinneen: So then in knowing yourself, you know what you need to limit yourself to. I like it. Yeah. I like it. Okay, cool. Well, okay. So your career is very cool and very unique, and I'm just curious, how do you sort of fall into an-- obviously you didn't fall into it-- but fall into a job like that because, I mean, what, what was your background that enabled you to then become this, this curator of a museum? That's just really interesting. [00:10:14] Christopher John Garcia: Yeah. Funny, you should ask. I was a floor worker, I basically a docent and tour guide and someone who told you to stop touching objects at the old Computer Museum in Boston. And it was slowly falling apart and getting ready to close. It would eventually be bought out by the Museum of Science. And I grew up in the Bay Area and I was out in Boston at that museum, but they had an affiliate in California. So when I went home for Christmas, one year I decided to visit and they said, "Yeah, we've got this job opening." And I said, "I will apply for this job because Boston is cold." And I ended up getting the job. Literally I fell into it because no one else wanted the job. It was $12.50 an hour. And no one else wanted that in Silicon Valley at that point except for me. [00:11:05]And yeah, for 20 years that's what I did and what was great is that I was largely in charge of my own research interests. And that was fascinating. When you give the freedom to a curator to go and investigate what truly interests them and what they think is missing in the museum, what you gain is an incredible amount of insight and a lot of extra labor from the person who's actually doing the research. And it turned out that a lot of the stuff that I was doing was not only stuff that we didn't know previously, but we didn't see how it connected to the bigger world. And it was just a great job. 20 years. I got laid off in 2019, sadly. Hashtag #learntofundraise. But the real, the real fascinating thing about, you know, lucking into this gig, like I had my art history background, but really it was the fact that I knew how to give a really good tour, ended up getting me the job and, you know, I held onto it because it's just a thing that I really understood. And I think I really grew up with the museum itself. [00:12:13] Lindsey Dinneen: Yeah. Cool. How incredible. And I love that you were given that autonomy and freedom to explore the things that interested you and then get to just learn and grow. That's really cool. I think that's awesome. And so what was the most surprising thing maybe that you learned along that journey? [00:12:36]Christopher John Garcia: So it, it's both surprising-- and then when I think about it, not at all surprising-- I got to go and meet a artist by the name of Harold Cohen. . Initially I knew him, his sort of work from the sixties and very early seventies as an abstract painter, sort of along the lines of if Hawking was working completely... David Hockney, not Hawking. Hawking is the scientist. Hockney was working completely abstract. Very, very great color palette, amazing line, but he got very interested in artificial intelligence and developed a system called Aaron, the AARON Paint System, which he developed for almost 40 years. And I got to spend a couple of days with him. [00:13:28] And what was so surprising was he was talking about when he got into AI, it wasn't that-- the art community naturally sort of rejected the work because it wasn't clear who was the artist? Was it Harold Cohen or was it AARON, the Paint System that he developed. And it wasn't that 'cause that I understood, but it was that when you program a system to create art, it is naturally going to attempt to create art in the mode of its creator. Because the creator understands art in that way. So all AARON is a set of rules, but when you define a set of rules, you're going to define it with your own biases already installed. And it's fascinating to see that. [00:14:23] And I managed to also connect with another computer music pioneer, who also does visual arts with his programs, guy by the name of David Cope. And he recognized that. And what he did to avoid that was he made it possible to input external work by, in his case for music mini files, from, you know, Shostakovitch, Scott Joplin, Bach, and so he removed himself from the set of rules. The rules were defined by the input, and it was so interesting that I never thought in a million years that just setting a set of rules into a computer program would actually have that much effect. And then when I thought about it, it was like, "Yeah, of course that's how you would do it." And then I realized, wait, there's a way to do it where it's not actually your rules. It's someone else's. I just love that. [00:15:15] Lindsey Dinneen: Yes. Oh my goodness. That is so cool. I didn't even know that those technologies existed. So that's really fascinating to me that that's even a thing. How cool! [00:15:27] Christopher John Garcia: Well, what's incredible about that is right now, we are in an absolute Renaissance of AI art. And it's scary because it is very, very quickly being monetized. We saw some of the first works done almost. All the major AI art is being done in Europe right now. In particular there's our groups in Amsterdam, in a couple different places in France, England. And what's amazing is that now they're starting to go to auctions and fetching high sums, but this isn't where we're going to see AI art. We're going to see AI art in hotel lobbies, hotel rooms, any place where large-scale art creation is necessary. And right now, almost all that work is outsourced typically to China or small artists who are willing to work for relatively cheap for reproduction. In this case, it's highly possible that AI will be creating all the art we encounter in public corporate spaces, and that's a very big change and will have a very big impact on not only the art market, but the art market that no one thinks about: the commercial art market for commercial properties. [00:16:36] Lindsey Dinneen: Hm. So do you think that that's a good thing or is it not necessarily inherently good or bad? It just is different. [00:16:45]Christopher John Garcia: Yeah. That's... I go back and forth and it depends on how much I like computer programmers at the moment. I think it is a good thing in that we are developing systems that are able to get art out more quickly. And I think it's a bad thing of course, because it is going to put some artists out of work, but by having the work that can get out more quickly, it is going to drive the art market in general broader. And that's going to allow more artists to actually get work, to get commissions. Now, how, how that drives against one another, it's hard to tell. And new technologies and art are changing everything. And so it's a really, we're on kind of a knife's edge and we could fall either direction. We could either end up with a market that is an, a, an output that is AI driven. We have very little, as of yet, AI generated art that has made it into the museum space. And when you really look at the history of art, it's the stuff that gets into the museum space that ends up being the most significant. We're still seeing a massive influx of artists working today who are being displayed in museums. So I think the human is still going to be the more significant player in what art means and becomes, but I think AI is going to be a major part of what sells and that, you know, who knows which direction that'll go. [00:18:27] Lindsey Dinneen: Sure. Yeah. Cool. Yeah. It's going to be really interesting to follow that journey then and see what does end up happening and how does it twist and weave through different avenues and yeah, that's going to be really different. Like, I'm, I'm just wrapping my head around it right now, thinking about it, because again, I didn't know these technologies existed, so I'm like, huh?  Okay. So, you know, you mentioned that you started taking that painting. What kind of artwork do you tend to lean towards with your own? Is it more abstract? Is it more realistic? What do you like? [00:19:05] Christopher John Garcia: Oh, it's a hundred percent abstract just because I don't have the skills to actually do representational. But one of the things on my Instagram is that I'll post an image where it's literally, I squoze three tubes of paint onto a piece of paper. I covered it with a little glue and I put another piece of paper on top of it and I scan it later, usually after it dries, but when it doesn't dry, my wife gets mad. And people will start to recognize that, "Oh, that's obviously a picture of X, Y, and Z." And one of the other things I do on the side is I publish zines and I had squished a whole bunch of acrylic paint that I just tossed onto a piece of paper and I peeled it off, but I had let it dry a little bit before I squished it. So it made this sort of feathery looking look and it looks exactly like the cryptid known as Moth Man. [00:19:56] And at that point I realized that something there's something in the sort of the chance operations space, that where even if you're not actively trying to create representational image, representational image will come forth. And so that picture of Moth Man, as I call it now, is a picture of Moth Man, even though I wasn't painting Moth Man. I wasn't painting anything. I was just putting paint on paper and that really, for me, raises some interesting questions as well. If I didn't mean to paint Moth Man, did I paint Moth Man? And the answer for me to that is, of course I'm painted Moth Man. What, are you crazy? Although I could get into the whole thing of that. Maybe Moth Man is some sort of entity that was working through me to make sure I painted a painting of him. But that might be a bridge too far, even for me. [00:20:45] Lindsey Dinneen: Yeah, sure. Of course. Well, that's cool. Oh my goodness. Okay. And so is that something that you anticipate you'll continue doing even sort of after things hopefully return to normal? [00:21:00]Christopher John Garcia: Yeah, I think what's really fascinating is that once I realized I loved the act of painting, I realized even more that I loved the material of painting. And I, I think painting can be a process that is laborious, that is tedious, that is mind numbing. It can also be one that is brief, that is freeing, that is inexact. And for me, it's definitely the latter, but the things that I love about it is just looking at how things react with one another. Like if I put oils and acrylics and inks on the same page and put a little Elmer's glue on top of it, and then put another page on top of it, the way it feels under the hand. Like that's a sensation that I can't think of repeating. And it's one that doesn't take long. It's just a couple of minutes even. And there's that sensation that's an irreplaceable thing. It's the aspect of the artists that I don't know if I ever really understood until I started painting myself, is that there are sensations to this that don't exist many other places. That the actual act of making marks on paper, on a canvas, whatever has a feeling. And when you find a feeling that is pleasurable or relieving or funky, you know, you're going to want to keep going back to that. So I don't see myself stopping painting. Probably painting a little less, but definitely it's something I'll keep doing that. And I have an Instagram to fill, so yes. [00:22:51] Lindsey Dinneen: Fair enough. Well, excellent. Well, I'm just curious. I know you've gotten to meet some pretty cool artists yourself-- and obviously your experiences as a curator and as a podcaster have probably lent themselves to some really memorable moments-- but I wonder if there's anything that kind of really stands out to you as an encounter with art that was like just something to remember to kind of file back there and return to every once in awhile. [00:23:17]Christopher John Garcia: Oh yeah. Bunch. I mean my first time I ever met an artist artist-- well, the first time I ever encountered an artist, this I should actually point out-- was Andy Warhol. And I didn't get to meet him, but I sat right behind him at Madison Square Garden at a WWF wrestling show. [00:23:38] Lindsey Dinneen: Wow. [00:23:39] Christopher John Garcia: And he was always in the front row and always taking pictures with his little camera. But little seven year old me, I couldn't talk to them because even I knew who he was and I was seven, but I got to know Robert Rauschenberg a little bit because he would visit our college and he was a fascinating human in many ways. But what I learned when I went to a big exhibit of his at SF MOMA was that his interests were so broad because he was so interesting and wanted to make the world as interested in things as he was. And it was like one of the best things. Again, this is something that people may not realize, every pop artist loves wrestling. I do not know why this is true, but everyone I've met-- Rauschenberg, Warhol, didn't meet him, but still-- Lichtenstein, Marisol, all of them love wrestling. And what Robert Rauschenberg said that one time when we were-- 'cause you'd stopped by class, then a lot of us would go out drinking afterwards-- he said "You know, you have to be careful how you are positioning your art, whether or not it is referencing the zeitgeists or referencing some niche topics that only two people in the gallery will get." And it's, you know, if you do a painting of whole Cogan, everyone will get it. It's a zeitgeist. But if you're talking about Pak Song and Dusty Rhodes, you're talking about niche. [00:25:09] And at that point, one, this was obviously made for me, even though he didn't know it. But two, he was really saying something that I bought into because you know, oh, this idea that there is a universality, but there's also a place for niche, which I love. But he was a really fun guy. I didn't see him after probably '97, but really had a good time with him. And I was very lucky. Another guy who's known more for music, but is actually a wonderful visual artist, is Mark Mothersbaugh of Divo. And I got to interview him, do an oral history with him. He has a fascinating eye for the world. And every day he writes one postcard size image he creates and he has thousands of them and they're beautiful. But then he was also doing this a very simple thing where he took classic, often Victorian, sometimes early 20th century photographs and uses Photoshop to place a mirror image of it. So it gives you that sort of awkward exactly symmetrical look. [00:26:14] But yeah, those have been two of my favorite. I've been lucky that I've gotten to meet a lot of really fun artists through the museum. You know, there were a lot of folks who didn't feel like early computer was being talked about enough and we're very happy to have anyone who would be interested in this stuff. But always, you know, artists like everyone, there are good ones who are wanting to talk to you all day long. And there are others who don't. You sort of learned which is which. [00:26:44]Lindsey Dinneen: For sure, for sure. Well, yeah. And, you know, just, it's so funny 'cause obviously everyone has different personalities and I would second that some artists are a little more approachable than others, but you know, that is okay. Well, I'm sure that some of our listeners are going to be super interested in your work, both as a podcaster and as a painter. And I'm wondering if there are ways for us to, of course, A) listen to your podcast and then B) check out some of your artwork. [00:27:14] Christopher John Garcia: Oh, there absolutely are. I have my podcast on the internet,  just look for "Three-Minute Modernist" and you will find it all over the place. And then you can find my artwork and pictures of my kids, also things I cook, on Instagram at Johnny Eponymous, J O H N N Y E P O N Y MOU S. I'm also the same thing on Twitter, the same thing on Facebook, the same thing on pretty much everything. Since Friendster, I've been Johnny Eponymous. But yeah, and I'm, yeah, I'm all over the place. It's hard to miss me. [00:27:48] Lindsey Dinneen: Perfect. Awesome. Well, first of all, thank you just so much again for being here and sharing your stories. And I'm just so fascinated learning about how technology and art intersect, and that's just so cool that you shared that very unique perspective. So I definitely appreciate that. I do have three questions that I always like to ask my guests, if you're okay with that. [00:28:10]Christopher John Garcia: Whew... [00:28:10]Lindsey Dinneen: I know. [00:28:11] Christopher John Garcia: I'm ready. [00:28:12] Lindsey Dinneen: It's pressure. [00:28:12] Christopher John Garcia: I'm ready. [00:28:13] Lindsey Dinneen: Okay. First of all, how do you personally define art or what is art to you? [00:28:20]Christopher John Garcia: Art is that thing you do that is mostly useless, but ultimately important. [00:28:27]Lindsey Dinneen: Okay. Care to elaborate, or are we just going to leave that be? [00:28:32]Christopher John Garcia: I'll elaborate slightly. It is the shape of the tool, not the use of the tool, I think is the way I, I wrote it in a paper once when I was trying to be smart. It's really about something that brings you an emotional experience of some sort that isn't just because of what it does, but what it is. And so, you know, we have paintings around the house 'cause my wife's mother's a actual painter who paints actual paintings. And every time I see one of them, it makes me feel hungry and it's because there's all sorts of food in it. But, you know, I consider that to be art because it draws an emotion out of me. [00:29:15] Lindsey Dinneen: Sure, sure. Perfect. Okay. [00:29:18] Christopher John Garcia: It's also a good painting of food. [00:29:20] Lindsey Dinneen: Oh, there you go. Perfect. Oh yeah. Well, that's a, that's a very unique answer and I like it. Okay. So, secondly, what do you think is the most important role of an artist? [00:29:32]Christopher John Garcia: To make art. I mean, really, that's what it comes down to, I think. Wanting an artist to be a philosopher, a spokesman, any of that? Really not as important as the fact that they just create the work. [00:29:49]Lindsey Dinneen: Sure. And then finally, I'll define my terms a little bit in this last question, but do you think that art should be inclusive or exclusive? And by inclusive, I'm referring to an artist who puts their work out there and shares a little bit of context behind that, whether it's program notes or the inspiration or a title. Just something to give the viewer an idea of what went into the creation. Versus exclusive referring to an artist who does put their work out there, but doesn't provide the context and therefore leaves it entirely up to the viewer to interpret it at will. [00:30:25]Christopher John Garcia: I'm going to throw you a curve ball and say there is no such thing as an inclusive artist. [00:30:31] Lindsey Dinneen: Okay. Ooh. Tell me more. [00:30:33]Christopher John Garcia: Everything an artist does is meant to be interpreted, is meant to be placed into a context. So that would be now exclusive. Nevermind. But yeah, they, every purpose choice you make is giving you more of a clue. If an artist says, "This is not titled," it doesn't mean he is just-- I don't care what you call it-- it's, he's making a choice. He doesn't want to give you the direction, but there is a direction and, you know, I've, I always think of-- I think it was Barnett Newman who once said I paint a zip. I put a line down a canvas. To me, that's a line. To someone else that could be a streetlight. And we're both right. [00:31:25]Lindsey Dinneen:  Yeah. [00:31:26] Christopher John Garcia: And I think that, you know, I think everything an artist does has the reason that it's done to bring about some thought, even if that thing that they do isn't giving you any background, but is giving you the lack of background. That seems strange, but in my brain it works. [00:31:48]Lindsey Dinneen: Well, I really, that is the most unique answer I've received for that question. So I like that. That is a really interesting point. So thank you for sharing that perspective because I really that's going to make me think about that even more. So thank you for that. [00:32:05]Christopher John Garcia: I do what I can. [00:32:06] Lindsey Dinneen: I know. I appreciate it. Well, thank you just so very much for being here today, Chris, I really appreciate your time and you sharing your background and what you're up to. And I'm so excited about your podcast. And I encourage all of our listeners to also check out Chris's podcast and subscribe and all that good stuff, because obviously he brings a cool, unique perspective and it's three minutes. So, like the perfect way to just start your day. So thank you again, Chris. And I just want to commend you for everything that you're doing and sharing art with the world. I really think that that's important and kudos to you. [00:32:49]Christopher John Garcia: Well, thank you much. It's been so much fun. [00:32:51] Lindsey Dinneen: Good. Yeah. Well, and thank you to everyone who's listened to this episode and if you're feeling as inspired as I am right now, I would love if you would share this with a friend or two, and we will catch you next time. [00:33:04] If you have a story to share with us, we would love that so much. And I hope your day has been Artfully Told.

As Utah begins the first round of administering the COVID-19 vaccine, there are many with common questions or concerns. We sat down with Dr. David Cope to discuss some of these frequently asked questions about the COVID-19 vaccine. For more information visit: www.cdc.gov/coronavirus/2019-ncov/vaccines/index.html

Special Edition: Red, white and rosé all day – as South Africans we can't get enough of our local wines. But what does the rest of the world think, and where do we rank in terms of the global market? In this special report, CEO and founder of Publik, David Cope, joins host Nick Corbett to talk about South Africa's wine renaissance and how the lockdown has affected it. Listen today to learn how Publik is driving accessibility to farms and why South African premium varieties are (finally) having their day in the sun, and get a few secret tips on how to taste wine in a restaurant without committing to the bottle.

Progressive rock, also known as “prog rock”, joined the musical fray in the late 1960's as a new offshoot from the waning psychedelic scene. The music was based around elaborate compositions, virtuosic instrumentation, and lyrics that were more akin to a fantasy novel. Some would frame it as a rock and roll interpretation of classical music, but only in the idea of songs as movements, and not so much from musical ideas from the classical era. It was also a pivot away from the traditional, more dance-y rock and roll, and was more of a “listening” music. While prog rock generally challenges the listener to actively stay engaged. There has been no shortage of very thorough and devout fans to the genre. And specifically to their favorite bands such as Yes, Emerson, Lake, and Palmer, Genesis, and King Crimson. However, on the flipside, over the years the critics and the wider music listening audience hasn't embraced prog rock quite the same as the superfans of the genre. These critics label it as pretentious and overindulgent, and barring a few artists breaking through, most prog acts have lived perpetual existences as cult bands. Should it be this way though? Should more people revisit and explore prog rock for themselves? Find out with us today as we discuss our favorite Prog Rock Albums and why we love them. So, hangout with us for a bit and see if our list matches yours. Check out the accompanying Spotify playlist here - https://spoti.fi/3knl55y We also have our very first guest today with Mr. David Cope! David is an amazing musician and prolific songwriter from Philadelphia. His compositions reflect a broad array of styles, from pop and rock songwriting, to classical, to South Indian classical music and more. In the summer of 2012 Dave released his debut album, “Davey Cope & The English Breakfast: A Proper Record”. Since then, Dave has expanded his output, writing music for plays, television and film. He's had many fantastic projects over the years including LeBon LeBon, Fantasy Square Garden, and Dave Cope and the Sass. And the pandemic hasn't slowed him down either, releasing two new albums in the past couple months based on themes of life during the pandemic, in addition to some classical music as well! Please take a moment to check out all his music on his bandcamp page @ davecope.bandcamp.com www.therightficion.com

Although the novel coronavirus has dominated the news, other health problems have not disappeared. So, should one still see the doctor? And should one do it through an in-person appointment or telemedicine? Is it safe? Dr. David Cope highlights how fear is powerful and can be dangerous when it stops people from taking care of their essential medical needs. Dr. Cope also sat down with us for our latest COVID-19 update sharing his thoughts on the news of a potential vaccine and what a successful best-case-scenario would look like if it were to come to fruition. 

Guilherme Carvalho est Maître de conférences dans le département de musique et musicologie de l'université Paul Valéry de Montpellier. La musique est tellement présente dans notre vie de tous les jours qu'on en vient à oublier qu'elle ne sort pas par magie des écouteurs. Nous discutons dans cet épisode des implications qu'ont eu les nouvelles technologies de l'information dans ce domaine. De la production de sons impossibles à réaliser naturellement à la consommation de masse en passant par la diffusion directe entre les créateurs et leur public ce sont tous les aspects de la musique qui ont été impacté d'une manière ou d'une autre. Voici quelques liens pour illustrer certains points abordés lors de la discussion: . des reprises et collages "par écrit": Luciano Berio, Sinfonia (1968), 3e mouvement . des enregistrements comme matière sonore: Bernard Parmegiani, Du pop à l'âne (1969) . de manière plus radicale, et en soulevant exprès la question des droits d'auteurs: John Oswald, Dab de l'album Plunderphonics (1989) . une pièce entièrement composée par un ordinateur: Invention (after Bach), partie des Experiments in Musical Intelligence de David Cope. . Gérard Assayag et Georges Bloch, de l'Ircam, parlent du logiciel OMax, qui improvise avec des musiciens. . une pièce très fortement formalisée et calculée par ordinateur, mais pas entièrement: Julien Bilodeau, A coups (2004) . l'un des premiers exemples de son entièrement numérique, en 1961: IBM 7094 joue et chante Daisy Bell. (C'est le premier ordinateur qui a chanté; la célèbre scène de 2001 où HAL est progressivement éteint fait référence justement à cette prouesse technique, encore très récente à l'époque.) . des glissandos continus dans le 2e mouvement (Fall) de Computer Suite for Little Boy (1968) de Jean-Claude Risset. . un accéléré continu, aussi de Risset. Quelques-unes des propres pièces de G. Carvalho (dont plusieurs ont été composées avec l'assistance d'un ordinateur) sont présentes sur sa page soundcloud.

We're living in a time where it's crucial to use one's voice for the equality and humanity of all that live around you. Sometimes, it's important to care for other lives even when you don't know them because life doesn't deserve to be taken away. Spread love, share light. Playlist: Blue In Green by Miles Davis Afro-Blue by Lizz Wright Come Back by Sunny War Where Is the Love by Roberta Flack & Donny Hathaway Respect Yourself by The Staple Singers A Bo Story: Flamenco Sketches by Miles Davis Young Fellow by Eric Bazillian with Charles P. Bailey, David Cope & Aaron Draper Sometimes I Feel Like a Motherless Child by Michael Kiwanuka On & On by Erykah Badu I’m Human by Sunny War Inner City Blues (Make Me Wanna Holler) by Marvin Gaye Wake up Everybody by Harold Melvin & The Blue Notes

This week Emily is joined by David Cope at ORA to explore some lesser known varietals such as Semillon Gris and the first South African Gamay. David runs a wine distribution and owns arguably the best wine bar in Cape Town: Publik. Join Emily and David as they discuss new varietals, classic cocktails and Rooibos Retsina. This week's wines: 2018 Muscat d'Alexandrie, City on a Hill 2018 Full Moon White Field Blend 2017 Semillon 'La Colline' Rooi Groen Druif, Raised by Wolves 2019 Pinotage, Reverie 2018 Gamay 'The Antidote', Radford Dale 2018 Pinot Noir 'Mabalel', Crystallum

Coronavirus (COVID-19) has been the center of media attention for a number of weeks. Such amplified coverage has led to many different rumors and opinions about the virus's transmission and severity, and, quite frankly, is causing a lot of panic. We discussed details about the Coronavirus with Dr. David Cope, family medicine physician at our Ogden Clinic | Cope Family Medicine location in Bountiful, UT.  Dr. Cope is passionate about disease prevention and currently sits on the Center for Disease Control (CDC)'s national board. In this episode of the Daily Diagnosis, Dr. Cope dispels rumors like if we should all be wearing medical face masks or not, should we quarantine the Amazon delivery packages arriving from China (what about the air from China in the bubble wrap?!), should you cancel your spring travel plans, and what kind of medical treatment people should seek if they are feeling like they might have been exposed. Listen to the Daily Diagnosis on Apple Podcasts, Spotify, Google Podcasts, and here: https://www.buzzsprout.com/426250/2914828 For live updates on the Coronavirus, visit https://www.cdc.gov/ 

This week, Kelly and Lindsey host comedian, former club kid, and current accountant David Cope. David - also also an uncredited co-creator of this podcast - talks about his experiences and perspectives on comedy and the Los Angeles Electronic Dance Music scene.  Listen as David dazzles us with his knowledge of the surrealist art movement, Kelly impresses everyone with her spot-on renditions of famous electronic songs for, and we discover the meaning of some common idioms in “Language Arts”. www.timbertheseries.com www.kwbyoga.com www.kellyandlindsey.com Check out the podcast Instagram feed @KellyandLindsey (www.instagram.com/kellyandlindsey/) Follow Kelly: @Kelly_WallaceBarnOwl (www.instagram.com/kelly_wallacebarnowl/) Follow Lindsey: @LindseyGentile (www.instagram.com/lindseygentile/) Editing provided by Phil at www.micomPODre.com

A Call To Minds host David Donnelly interviews composer, author, and artist David Cope.  They discuss the future of art and technology, artificial intelligence, multi-planetary existence, classical music, biohacking, space travel, and more.  Cope is Dickerson Emeriti Professor at the University of California at Santa Cruz where he teaches theory and composition, and Honorary Professor of Computer Science at Xiamen University (China).  He is the creator of EMI (Experiments in Musical Intelligence) and is currently writing his next book "Alone?" which explores the scientific probability of extraterrestrial life.  For more details on this episode, visit www.CallToMinds.com.  

Linda Simone shares her poetry from San Antonio, TX. Host Charlie Rossiter reviews Andy Clausen’s new book "BEAT: The Latter Days of the Beat Generation, a First-Hand Account." Listen to our episode remembering Jeff Poniewaz, here: https://soundcloud.com/poetry-spoken-here/episode-004-antler-remembers-jeff-poniewaz-gary-snyders-new-book-reviewed Listen to our extended interview with David Cope about his correspondence with Allen Ginsberg, here: https://soundcloud.com/poetry-spoken-here/episode-028-david-cope-discusses-allen-ginsberg-extended-interview Listen to our interview with Bill Morgan, Allen Ginsberg's archivist, here: https://soundcloud.com/poetry-spoken-here/episode-068-bill-morgan-and-wait-till-im-dead-reviewed Subscribe to Poetry Spoken Here on iTunes: itunes.apple.com/us/podcast/poetr…d1030829938?mt=2 Visit our website: poetryspokenhere.com Like us on facebook: facebook.com/PoetrySpokenHere Follow us on twitter: twitter.com/poseyspokenhere (@poseyspokenhere) Send us an e-mail: poetryspokenhere@gmail.com

Composer Baljinder Sekhon joined us from Tampa, FL for this episode.  He serves as an Assistant Professor of Composition at the University of South Florida.  Baljinder's music has been performed worldwide, and there's even a special link on his website that directs straight to the percussion works.Topics: Baljinder's music, "The Next Rembrandt" replication project, David Cope's music replication projects, and the sound/art installation GamelatronWatch here. Listen below. If you cannot see the audio controls, your browser does not support the audio element 0:00 Intro and hello1:13 “Gradient” and “Gradient 2.0”6:34 Chopsticks, Andy Akiho, Foundry, and “Passageways”10:33 Casey: “The Next Rembrandt” replication project / David Cope’s music replication41:59 Megan: Gamelatron – Sonic Kinetic Sculptures / Robotic gamelan orchestra53:15 Baljinder’s recent projects1:03:02 Wrap

Anne McElvoy and Lane Greene continue their look at the role of creativity in today’s society. They visit a London railway station to hear how commuters get their creative juices going by playing pianos in public spaces. Lane looks at how the concept of creativity is being widened to enhance the skills involved in coding or crisis management, and considers the 10,000 hour rule that sustains the belief of the universal creativity lobby. Neuroscientist Miriam Mosing tells Lane that studies of creative twins have shown that a genetic pre-disposition to creativity can’t be wholly eliminated, and Anne talks to AI researcher David Cope who has provided a frightening vision for the future of creativity. His computer generated composer “Emily Howell” can absorb existing styles, and use them to generate her own See acast.com/privacy for privacy and opt-out information.

Anne McElvoy and Lane Greene continue their look at the role of creativity in today’s society. They visit a London railway station to hear how commuters get their creative juices going by playing pianos in public spaces. Lane looks at how the concept of creativity is being widened to enhance the skills involved in coding or crisis management, and considers the 10,000 hour rule that sustains the belief of the universal creativity lobby. Neuroscientist Miriam Mosing tells Lane that studies of creative twins have shown that a genetic pre-disposition to creativity can’t be wholly eliminated, and Anne talks to AI researcher David Cope who has provided a frightening vision for the future of creativity. His computer generated composer “Emily Howell” can absorb existing styles, and use them to generate her own See acast.com/privacy for privacy and opt-out information.

You can find Emily Howell's music all over the internet, but a search for the person comes up empty. She plays no concerts, attends no events, has no email address, and not a single photo comes up under a google search. Join Music is Music host Ria Misra as she talks with composer David Cope about who Emily Howell is--and what Emily Howell means for the future of music.

Michigan poet, David Cope, talks about his long-time friendship and correspondence with Allen Ginsberg and reads poems, including two elegies for Allen in a special extended-length interview.

Neil Tyson explores art, science and creativity with the help of musician and Talking Heads frontman David Byrne. Providing backup are cognitive scientist/pianist Dr. Mónica López-González, composer/programmer Prof. David Cope, and co-host Maeve Higgins, with a guest solo by Bill Nye.

In the early eighties an epidemic of child homicide and satanic rituals took place in the form of a game: Dungeons & Dragons. This week we're joined by D&D experts Chris Lam and David Cope to look at Tom Hanks' first starring role in 1982's Mazes And Monsters, and investigate the true dangers of D&D. Follow us - @tomhankspod Elvis Kunesh - @elviskunesh Chris Lam - @onewingedchris David Cope - @davidiscope Email - tomhankspod@gmail.com "WOULD IT HELP?"

Probably History is back! This week Jesse, Richard and Andy welcome the very funny David Cope (davidcope.flavors.me) to take a stab at covering over 60 years of video game history. Enjoy!

David Cope is a professor emeritus at the University of California and a pioneer in the world of computer created music, having worked to perfect classical compositions on machines since the days of punch cards. He's also exactly the sort of person you'd like to sit down with for an hour to discuss the rules governing music, math, art and the universe.

In this episode, the Goods from the Woods Boys and their special guest, comedian David Cope, go back to the arcade in this episode all about classic gaming! Explore some of the weirdest storylines ever concocted out of just 8 to 16 bits. Conquer space aliens with Steve Perry of Journey. Kick Dr. Machino's butt with Awesome Possum. Stand by idly while zombies eat your neighbors. Also, Rivers tells the story of the time Tomb Raider made a kid pee in a diaper that he was inexplicably wearing at age 10. This will be much easier to understand if you just hit play! You can find David on Instagram @TotesCope. Rivers is @RiversLangley  Dr. Pat is @PM_Reilly Mr. Goodnight is @SepulvedaCowboy  Pick up a Goods from the Woods t-shirt at: http://prowrestlingtees.com/TheGoodsPod

In the first official episode for the Westcast network, David Cope comes over to the poolhouse and talks about his childhood fear of quicksand, managing expectations, having a balanced life in an unstable profession, and the most embarrassing moment of his life.

In film, sound is the partner to the image. The ultimate compliment to sound designers, mixers, and editors is when no one actually notices the work. Sound designer Ren Klyce brings a professional's view to cinematic sound as a subtle, supporting character to the image, and the reasons why it is so often misunderstood and underappreciated. Our work is not just about the aesthetics of understanding how sound and dialogue enhance a film creatively, but it requires an understanding of human audiology, the behavior of sound waves, and the use of a great deal of technology. In this talk, I will play some excerpts from some well-known films, such as The Social Network or The Girl with the Dragon Tattoo, and deconstruct how film sound tracks are made in collaboration with the director. Born in Kyoto Japan, Ren Klyce grew up in Mill Valley, California. He studied Electronic Music at UC Santa Cruz with Gordon Mumma, David Cope, and Peter Elsea and was trained in the traditional tape-based techniques of Musique Concrete. After meeting John Chowning at a lecture series in 1983, Klyce enrolled in the summer workshop at the Center for Computer Research in Music and Acoustics (CCRMA) and composed three pieces on the original SAM Box. Because of his experiences in the Electronic Music course at UCSC, Klyce became increasingly interested in computer music and the use of multiple speakers for playback. He went on to design sound for films such as Se7en, Fight Club, Being John Malkovich, and Where The Wild Things Are. He has been nominated for five Academy Awards — most recently for the films The Social Network and The Girl with the Dragon Tattoo. He is currently working on the hit web series House of Cards and on the upcoming film Oblivion.

David Cope is a super-funny and absurdist comic based in New York City. Rather than some put-on stage persona, however, his weirdness is an honest extension of his personality. He curates the weekly stand-up show Hot Soup at O'Hanlon's Bar alongside Andy Haynes, Mark Normand and Matt Ruby, and he's been featured at the Bumbershoot festival, on the last season of NBC's Last Comic Standing and in numerous TV commercials. A few weeks ago, he came over to the (always hot) Wrestling Team apartment, and we talked about Shakespeare and James Joyce's fart fetishes, divorce, call centers, the shittiness of being a lawyer, fuzz or a bedbug?, gaming vs. relationships, new-age harp and two-thirds of every Philip K. Dick novel.

Composer David Cope discusses his 30-year investigation into the nature of musical creativity. Cope's computer programs generate new musical works in the style of historical composers, as well as original modernist compositions, delighting and/or enraging lovers of classical music. We listen to some of his old and new compositions, and consider what they reveal about art, originality and human intelligence.

Rory Scovel, Ali Wong, and David Cope. Hosted by Matt Ruby and Mark Normand.