Podcasts about dig sound

Listener discretion advised: This episode delves into the disturbing details of the Whitechapel murders of 1888, and may not be suitable for all audiences. Serialized from 1989 to 1996, Alan Moore and Eddie Campbell's graphic novel From Hell was first released in a single volume in 1999, just as the world was groaning into the present century. This is an important detail, because according to the creators of this astounding work, the age then passing away could not be understood without reference to the gruesome murders, never solved, of five women in London's Whitechapel district, in the fall of 1888. In Alan Moore's occult imagination, the Ripper murders were more than another instance of human depravity: they constituted a magical operation intended to alter the course of history. The nature of this operation, and whether or not it was successful, is the focus of this episode, in which JF and Phil also explore the imaginal actuality of Victorian London and the strange nature of history and time. Support us on Patreon (https://www.patreon.com/weirdstudies). Buy the Weird Studies sountrack, volumes 1 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-1) and 2 (https://pierre-yvesmartel.bandcamp.com/album/weird-studies-music-from-the-podcast-vol-2), on Pierre-Yves Martel's Bandcamp (https://pierre-yvesmartel.bandcamp.com) page. Listen to Meredith Michael and Gabriel Lubell's podcast, Cosmophonia (https://cosmophonia.podbean.com/). Visit the Weird Studies Bookshop (https://bookshop.org/shop/weirdstudies) Find us on Discord (https://discord.com/invite/Jw22CHfGwp) Get the T-shirt design from Cotton Bureau (https://cottonbureau.com/products/can-o-content#/13435958/tee-men-standard-tee-vintage-black-tri-blend-s)! REFERENCES Daniel Silver, Terry Nichols Clark, and Clemente Jesus Navarro Yanez, “Scenes: Social Context in an Age of Contingency” (https://www.researchgate.net/publication/254963890_Scenes_Social_Context_in_an_Age_of_Contingency) Alan Moore and Eddie Campbell, From Hell (https://bookshop.org/a/18799/9780958578349) Floating World (https://www.thecollector.com/edo-japan-ukiyo-floating-world/), Edo Japanese concept Phil Ford, Dig: Sound and Music in Hip Culture (https://bookshop.org/a/18799/9780199939916) John Clellon Holmes recordings (https://www.library.kent.edu/special-collections-and-archives/john-clellon-holmes-recordings) Arthur Conan Doyle, Sherlock Holmes Collection (https://bookshop.org/a/18799/9781802792546) Yacht Rock (https://www.imdb.com/title/tt1047801/), web series Stephen Knight, [Jack the Ripper: The Final Solution](https://en.wikipedia.org/wiki/JacktheRipper:TheFinalSolution)_ Colin Wilson, Jack the Ripper: Summing Up and Verdict (https://www.goodreads.com/en/book/show/1425635) Manly P. Hall, The Secret Teachings of All Ages (https://bookshop.org/a/18799/9780486471433) Peter Ackroyd, Hawksmoor (https://www.goodreads.com/book/show/67729.Hawksmoor) Weird Studies, Episode 89 on “Mumbo Jumbo” (https://www.weirdstudies.com/89) Charles Howard Hinton (https://en.wikipedia.org/wiki/Charles_Howard_Hinton), mathematician J. G. Ballard, Preface to Crash (https://uglywords.wordpress.com/2012/03/07/on-j-g-ballards-1995-introduction-to-crash-6-2/) William Gibson and Bruce Sterling, The Difference Engine (https://bookshop.org/a/18799/9780440423621)

In this episode, I talk with Dr. Phil Ford. Phil is an associate professor of musicology at the Indiana University Jacobs School of Music. He is the author of the book Dig: Sound and Music in Hip Culture (a cultural history of hipness from the 1930s through the 1960s), the long-running blog Dial 'M' for Musicology, and various essays that have appeared in Representations, Journal of Musicology, Musical Quarterly, and elsewhere. With J. F. Martel he is working on a book titled Weirding, to be published by Strange Attractor Press. Phil is a pianist, rabid Wagnerite, crap Buddhist, degenerate fight fan, and avid consulter of the I Ching. He wishes that just for once he had an enthusiasm that he didn't have to apologize for or explain to his academic peers. He is also the co-host of the podcast Weird Studies. In this episode, we discuss Nick Lowe's song "The Beast in Me". Episode Highlights: The UFC and the recent Dana White controversy Carl Jung's notion of the shadow Ursula LeGuin's "A Wizard of Earthsea" Hal and Sidra Stone's Voice Dialogue therapy Zen Buddhism Alchemical transformation The universal religious impulse Much more!

Your hosts' exploration of mysticism and vision in pop music continues with two powerful pieces of popular music: Radiohead's "Pyramid Song" from the 2001 album Amnesiac, and Fran Landesman and Tommy Wolf's "Ballad of the Sad Young Men," from the 1959 Broadway musical The Nervous Set. Synchronicity rears its head as the dialogue reveals how these two gems, selected by JF and Phil with no expectation that they might form a set, begin to glow when placed side by side, amplifying and focussing each other's eldritch light. This episode touches on Neoplatonic myths of spiritual ascent, African-American spirituals, Plato's realm of Forms, Gnosticism, dream visitations by the dearly departed, the travails of the Beat generation, the objectivity of hope, the implosion of America, and that particularly modern condition of the soul which Phil calls the "Philosopher's Blues." REFERENCES Radiohead, "Pyramid Song" (https://en.wikipedia.org/wiki/Pyramid_Song) Fran Landesman and Tommy Wolf, "The Ballad of the Sad Young Men" (http://greatamericansongbook.net/pages/songs/b/ballad_of_the_sad_young_men.html) Edgar Allan Poe, "The Pit and the Pendulum" (https://poestories.com/read/pit) Charles Mingus, [Mingus Mingus Mingus Mingus Mingus](https://en.wikipedia.org/wiki/MingusMingusMingusMingusMingus) Plato, Phaedrus (http://www.gutenberg.org/files/1636/1636-h/1636-h.htm) Plato, Republic (http://classics.mit.edu/Plato/republic.html) Plato's Unwritten Doctrines (https://en.wikipedia.org/wiki/Plato%27s_unwritten_doctrines) The Secret History of Western Esotericism Podcast, episode 69: "Plutarch's Myths of Cosmic Ascent" (https://shwep.net/podcast/plutarchs-myths-of-cosmic-ascent/) William James, The Varieties of Religious Experience (http://www.gutenberg.org/files/621/621-h/621-h.html) Pierre Hadot (https://en.wikipedia.org/wiki/Pierre_Hadot), French philosopher Algis Uzdavynis, Philosophy as a Rite of Rebirth: From Ancient Egypt to Neoplatonism (https://www.amazon.com/Philosophy-Rite-Rebirth-Neoplatonism-7-Dec-2008/dp/B011T6X636) Charles Taylor (https://www.britannica.com/biography/Charles-Taylor), Canadian philosopher Phil Ford, "The Philosopher’s Blues" (Weird Studies Patreon (https://www.patreon.com/weirdstudies) exclusive) Peter Sloterdijk (https://en.wikipedia.org/wiki/Peter_Sloterdijk), German philosopher Ferdinand de Saussure (https://en.wikipedia.org/wiki/Ferdinand_de_Saussure), French linguist JF Martel, Reclaiming Art in the Age of Artifice (https://www.amazon.com/Reclaiming-Art-Age-Artifice-Manifesto/dp/1583945784) JF Martel, "Stay With Mystery: Hiroshima Mon Amour, Melancholia, and the Truth of Extinction" in Canadian Notes & Queries, issue 106: Winter 2020 (http://notesandqueries.ca/product/cnq-106-winter-2020/), edited by Sharon English and Patricia Robertson Ray Brassier, Nihil Unbound: Enlightenment and Extinction (https://www.amazon.com/Nihil-Unbound-Enlightenment-Extinction-Brassier/dp/023052205X) Jay Landesman and Theodore J. Flicker, [The Nervous Set](https://en.wikipedia.org/wiki/TheNervousSet), musical Phil Ford, [Dig: Sound and Music in Hip Culture](https://www.amazon.com/Phil-Ford/dp/0199939918/ref=tmmhrdswatch0?encoding=UTF8&qid=&sr=) Jay Landesman (https://en.wikipedia.org/wiki/Jay_Landesman), American publisher and writer Marshall McLuhan, "The Psychopathology of 'Time & Life'" (https://ionandbob.blogspot.com/2018/02/marshall-mcluhan-psychopathology-of.html) Marshall McLuhan, [The Mechanical Bride: Folklore of Industrial Man](https://en.wikipedia.org/wiki/TheMechanicalBride) William Butler Yeats, "Sailing to Byzantium" (https://www.poetryfoundation.org/poems/43291/sailing-to-byzantium) Joel and Ethan Coen, No Country For Old Men (https://www.imdb.com/title/tt0477348/) Mike Duncan (Twitter) Jeff Chang, [Can’t Stop Won’t Stop: A History of the Hip-Hop Generation](https://www.goodreads.com/book/show/54754.CantStopWontStop)_ Karl Marx, Capital: Volume I (https://www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-I.pdf)

On the night before this episode of Weird Studies was released, a bunch of folks on the Internet performed a collective magickal working. Prompted by the paranormal investigator Greg Newkirk, they watched the final episode of the documentary series Hellier at the same time -- 10:48 PM EST -- in order to see what would happen. Listeners who are familiar with this series, of which Newkirk is both a protagonist and a producer, will recall that the last episode features an elaborate attempt at gate opening involving no less than Pan, the Ancient Greek god of nature. If we weren't so cautious (and humble) in our imaginings, we at Weird Studies might consider the possibility that this episode is a retrocausal effect of that operation. In it, we discuss the show that took the weirdosphere by storm last year, touching on topics such as subterranean humanoids, the existence of "Ascended Masters," Aleister Crowley's secret cipher, the Great God Pan, and the potential dangers of opening gates to other worlds ... or of leaving them closed. REFERENCES Karl Pfeiffer (director), Hellier (https://www.hellier.tv) Philip K. Dick, Valis (https://www.amazon.com/VALIS-Valis-Trilogy-Philip-Dick/dp/0547572417) Weird Studies episode 12 - The Dark Eye: On the Films of Rodney Ascher (https://www.weirdstudies.com/12) John Benson Brooks (https://en.wikipedia.org/wiki/John_Benson_Brooks), American musician Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Thelema (https://en.wikipedia.org/wiki/Thelema) Allen H. Greenfield, [The Complete Secret Cipher of the Ufonauts](https://www.amazon.com/Complete-SECRET-CIPHER-UfOnauts/dp/171864535X/ref=pdsbs14t0/133-7739091-0346850?encoding=UTF8&pdrdi=171864535X&pdrdr=353611af-e47e-4e30-8a57-660b52cf9fcc&pdrdw=4jKmT&pdrdwg=zk2TP&pfrdp=5cfcfe89-300f-47d2-b1ad-a4e27203a02a&pfrdr=6316BW6KREEPKCF1G4T8&psc=1&refRID=6316BW6KREEPKCF1G4T8)_ Secret cipher online tool (https://www.naeq.io/about/) Aleister Crowley, The Book of the Law (https://www.sacred-texts.com/oto/engccxx.htm) Gematria (https://en.wikipedia.org/wiki/Gematria) John Keel, [The Mothman Prophecies](https://en.wikipedia.org/wiki/TheMothmanProphecies) Eric Wargo, [Time Loops: Precognition, Retrocausation, and the Unconscious](https://www.amazon.com/Time-Loops-Precognition-Retrocausation-Unconscious/dp/1938398920/ref=cmcrarpdproducttop?ie=UTF8)_ Grant Morrison, [The Invisibles](https://en.wikipedia.org/wiki/TheInvisibles)_ Genesis P. Orridge (https://en.wikipedia.org/wiki/Genesis_P-Orridge), American artist Alex Reed, [Assimilate: A Critical History of Industrial Music](https://en.wikipedia.org/wiki/Assimilate:ACriticalHistoryofIndustrialMusic) Helena Blavatsky (https://en.wikipedia.org/wiki/Helena_Blavatsky), Russian theosophist Annie Besant (https://en.wikipedia.org/wiki/Annie_Besant), British theosophist Peter J. Carroll (https://en.wikipedia.org/wiki/Peter_J._Carroll), British occultist Kenneth Grant (https://en.wikipedia.org/wiki/Kenneth_Grant), British occultist C. G. Jung, The Red Book (https://www.brainpickings.org/2010/01/20/carl-jung-the-red-book/) Alan Chapman and Duncan Barford, "Chinese Whispers: The Origin of LAM" in The Blood of the Saints (https://archive.org/details/01TheBloodOfTheSaints) Richard Sharpe Shaver (https://en.wikipedia.org/wiki/Richard_Sharpe_Shaver), American writer and contactee James Hillman, [Pan and the Nightmare](https://books.google.ca/books/about/PanandtheNightmare.html?id=OokQAQAAIAAJ&rediresc=y) Occultist Paul Weston's blog post (http://www.paulwestonglastonbury.com/hellier-interview-featuring-allen-greenfield-paul-weston/) on Hellier John Keel, [The Mothman Prophecies](https://en.wikipedia.org/wiki/TheMothmanProphecies) Peter Kingsley, Catafalque (https://peterkingsley.org/product/catafalque/) Eric Voegeln, [The New Science of Politics: An Introduction](https://books.google.ca/books/about/TheNewScienceofPolitics.html?id=kNfBCKFB8WMC&rediresc=y)_ and [Science, Politics, and Gnosticism](https://www.amazon.com/Science-Politics-Gnosticism-Eric-Voegelin/dp/1932236481/ref=sr11?keywords=science+politics+and+gnosticism&qid=1583333002&s=books&sr=1-1) Auguste Comte (https://en.wikipedia.org/wiki/Auguste_Comte), French philosopher Colin Wilson, [The Occult: A History](https://en.wikipedia.org/wiki/TheOccult:AHistory)_

B. W. Powe is a Canadian poet, novelist, essayist and professor at York University, in Toronto. His work, though it covers an immense range of topics from politics and poetics to magic and technology, proceeds from a mystical apprehension of the universe as the locus of magical operations, the site of experiments in cosmic becoming. In his various books and essays, Powe continues a uniquely Canadian form of the visionary tradition whose luminaries include his former teachers Marshall McLuhan and Northrop Frye. In this episode, he joins JF and Phil for an exploration of the meaning, potency, and danger of the visionary in art and literature. Header image: Detail of "Green Color" by Gausanchennai (Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Green_color.jpg)). REFERENCES B. W. Powe's website (https://bwpowe.net) B. W. Powe, [The Charge in the Global Membrane](https://www.amazon.com/Charge-Global-Membrane-B-Powe/dp/0997502185/ref=cmcrarpdproducttop?ie=UTF8)_ B. W. Powe, [Marshall McLuhan and Northrop Frye: Apocalypse and Alchemy](https://www.amazon.com/Marshall-McLuhan-Northrop-Frye-Apocalypse/dp/1442616164/ref=tmmpapswatch0?encoding=UTF8&qid=1580849056&sr=1-1) Frank Lentricchia (https://en.wikipedia.org/wiki/Frank_Lentricchia), "Last Will and Testament of an Ex-Literary Critic" Lorca's concept of duende Hildegard of Bingen's concept of viriditas (https://en.wikipedia.org/wiki/Viriditas) Gilles Deleuze, [Cinema II](https://en.wikipedia.org/wiki/Cinema2:TheTime-Image)_ Ernest Hemingway, [The Old Man and the Sea](https://en.wikipedia.org/wiki/TheOldManandtheSea)_ Marshall McLuhan, [Understanding Media](https://en.wikipedia.org/wiki/UnderstandingMedia)_ Marshall McLuhan, [The Gutenberg Galaxy](https://en.wikipedia.org/wiki/TheGutenbergGalaxy) Marshall McLuhan, "Notes on William Burroughs" Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6) John Clellon Holmes (https://en.wikipedia.org/wiki/John_Clellon_Holmes), beatnik Northrop Frye (https://en.wikipedia.org/wiki/Northrop_Frye), Canadian literary critic Hildegard von Bingen, Ordo Virtutum (https://www.youtube.com/watch?v=zUMlhtoGTzY) Joni Mitchell, "Woodstock" (https://www.youtube.com/watch?v=cRjQCvfcXn0) Genesis 32, Jacob and the Angel (https://en.wikipedia.org/wiki/Jacob_wrestling_with_the_angel) R. D. Laing (https://en.wikipedia.org/wiki/R._D._Laing), Scottish psychologist Pierre Teilhard de Chardin, [The Phenomenon of Man](https://en.wikipedia.org/wiki/ThePhenomenonofMan)_ William James, [The Varieties of Religious Experience](https://en.wikipedia.org/wiki/TheVarietiesofReligiousExperience) Sylvia Plath, "Lady Lazarus" (https://www.poetryfoundation.org/poems/49000/lady-lazarus) Sylvia Plath, "Daddy" (https://www.poetryfoundation.org/poems/48999/daddy-56d22aafa45b2) Jack Kerouac (https://en.wikipedia.org/wiki/Jack_Kerouac), American writer Allen Ginsberg (https://en.wikipedia.org/wiki/Allen_Ginsberg), American poet Lionel Snell (https://en.wikipedia.org/wiki/Lionel_Snell), British philosopher and magician Special Guest: B. W. Powe.

What is the role of the critic in the world of art? For some, including lots of critics, the figure exudes an aura of authority: her task is to tell us what this or that work of art means, why it matters, and what we are supposed to think and feel in its presence. Cast in in this mold, the critic is an arbiter, not just of taste, but also of sense and meaning. The American art critic Dave Hickey categorically rejects this interpretation, which he says gives off a mild stench of fascism. For Hickey, the critic plays a weak role, and it's this weakness that makes it essential. In his essay "Air Guitar," published in 1997, Hickey argues that criticism can never really penetrate the mystery of any artwork. Criticism is rather a way to capture the "enigmatic whoosh" of art as one instance of the more pervasive "whoosh" of ordinary experience. So, no act of criticism can ever exhaust an artwork. The critic interprets a singular experience of art into words so that others might be encouraged to have their own, equally singular experiences. In this episode, Phil and JF discuss what criticism has to do with art, life, politics, and ordinary experience. Header image: Caravaggio, The Calling of Saint Matthew (1599-1600) REFERENCES Dave Hickey, Air Guitar: Essays on Art and Democracy (https://www.amazon.com/Air-Guitar-Essays-Art-Democracy/dp/0963726455) Plato, Republic (https://www.iep.utm.edu/republic/) Oscar Wilde, "The Decay of Lying (https://www.sscnet.ucla.edu/comm/steen/cogweb/Abstracts/Wilde_1889.html)" Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Gilles Deleuze and Félix Guattari, Kafka: Toward a Minor Literature (https://www.amazon.com/Kafka-Toward-Literature-Theory-History/dp/0816615152) Deleuze and Félix Guattari, What is Philosophy? (https://www.amazon.com/What-Philosophy-Gilles-Deleuze/dp/0231079893) Dave Hickey, "Buying the World" (https://www.jstor.org/stable/20027807?seq=1#page_scan_tab_contents) Clinton e-mails exhibition (https://news.artnet.com/art-world/hillary-clinton-reads-emails-venice-art-show-1648867) at the Venice Biennale Oscar Wilde, [The Portrait of Dorian Gray](https://en.wikipedia.org/wiki/ThePictureofDorianGray)

The Duffer Brothers' hit series Stranger Things is many things: an exemplary piece of entertainment in the summer blockbuster mold, a fresh take on the "kids on bikes" subgenre of science fiction, a loving pastiche of 1980s Hollywood cinema. And as Phil and JF attempt to show in this episode, Stranger Things is also a deep investigation into the metaphysical assumptions of our times, and a bold statement on the ontology of the analog real. This, at least, was the thesis of JF's three-part essay "Reality is Analog: Philosophizing with Stranger Things," which appeared on Metapsychosis (https://www.metapsychosis.com/reality-is-analog-philosophizing-with-stranger-things-part-one/) after the first season dropped in 2016. Here, Phil and JF revisit that essay in order to expand on its arguments and discuss how it hoilds up in light of the series continued unfolding. The conversation touches on Apple's famous 1984 ad for the first Macintosh, the 2016 election of Donald Trump, the otherworldliness of airports, the ensorcelments of consumerism, and much more. REFERENCES [Stranger Things](https://en.wikipedia.org/wiki/StrangerThings)_ "Reality is Analog: Philosophizing with Stranger Things" available at Metapsychosis (https://www.metapsychosis.com/reality-is-analog-philosophizing-with-stranger-things-part-one/) or in ebook format (https://www.amazon.com/Reality-Analog-Philosophizing-Stranger-Things-ebook/dp/B01LXO775I) Samuel Delaney, Dhalgren (https://en.wikipedia.org/wiki/Dhalgren) 1984 Apple commercial (https://www.youtube.com/watch?v=axSnW-ygU5g) for Macintosh [Wild Wild Country](https://en.wikipedia.org/wiki/WildWildCountry), Netflix documentary series Tom Frank, “Why Johnny Can’t Dissent” (https://www.jstor.org/stable/43555671) Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Culture-Hardcover-August/dp/B010EW5LNY) Arcade Fire, “We Used to Wait” (https://www.youtube.com/watch?v=kJ7osdJ4H_8) William S. Burroughs, [Naked Lunch](https://en.wikipedia.org/wiki/NakedLunch)_ Jack Kerouac, [Visions of Cody](https://en.wikipedia.org/wiki/VisionsofCody) William James, A Pluralistic Universe (http://www.gutenberg.org/ebooks/11984) Marc Augé, [Non-Places: An Introduction to Supermodernity](https://books.google.ca/books/about/Nonplaces.html?id=5YsOAQAAMAAJ&rediresc=y) Weird Studies, episode 2: Garmonbozia (https://www.weirdstudies.com/2) Homer, Odyssey (https://en.wikipedia.org/wiki/Odyssey) Matt Cardin, Dark Awakenings (http://www.mattcardin.com/fiction/dark-awakenings/) The Wachowskis, [The Matrix](https://en.wikipedia.org/wiki/TheMatrix)_ Jonathan Haight and Greg Lukianoff, The Coddling of the American Mind (https://www.thecoddling.com)

Made in 2003, Lutz Dammbeck's documentary The Net: The Unabomber, LSD, and the Internet is a film about many things, but the gist of it is something like what William Burroughs called the doctrine of control. We live in a world governed by technologies designed with a particular idea of society in mind, one that has its roots in the trauma of global war and the utopian dreams of modern thinkers. The viability of this ideal is, of course, an important question, and it was made all the more urgent by recent developments at the intersection of technology and politics. In this episode, JF and Phil discuss the doctrine of control as imagined by one of its fiercest -- and most insane -- critics: Ted Kaczynski, also known as the Unabomber. Kaczynski's thoughts on technological society form the through-line of Dammbeck's film, which in turn serves as a through-line for this jam on everything from one-world government and cybernetics to the archetype of the magus and the Whole Earth Catalog. REFERENCES Lutz Dammbeck (director), The Net: The Unabomber, LSD and the Internet (https://www.imdb.com/title/tt0434231/) (2003) Chuck Klosterman, "FAIL" in [Eating the Dinosaur](https://en.wikipedia.org/wiki/EatingtheDinosaur) Jacques Ellul (https://en.wikipedia.org/wiki/Jacques_Ellul), French theorist Suzanne Treister, HEXEN Tarot Deck (http://www.suzannetreister.net/HEXEN2/HEXEN_2_Temp.html) -- Seven of Swords (http://www.suzannetreister.net/HEXEN2/TAROT_COL/Sword7_CybSeance.html) -- Justice (http://www.suzannetreister.net/HEXEN2/TAROT_COL/TAROT_JUSTICE_OWG-BR.html) -- The Sun (http://www.suzannetreister.net/HEXEN2/TAROT_COL/TAROT_SUN_AnarchoP.html) Norbert Wiener, [Cybernetics: Or Control and Communication in the Animal and Machine](https://en.wikipedia.org/wiki/Cybernetics:OrControlandCommunicationintheAnimalandtheMachine) and [The Human Use of Human Beings](https://en.wikipedia.org/wiki/TheHumanUseofHumanBeings)_ Bertrand Russell, The Scientific Outlook (https://archive.org/details/scientificoutloo030217mbp) Aldous Huxley, Brave New World (https://www.fadedpage.com/showbook.php?pid=20160545) Kevin Kelly, [What Technology Wants](https://en.wikipedia.org/wiki/WhatTechnologyWants) Weird Studies Episode 2: Garmonbozia (https://www.weirdstudies.com/2) Stewart Brand (https://en.wikipedia.org/wiki/Stewart_Brand), writer and editor of the [Whole Earth Catalog](https://en.wikipedia.org/wiki/WholeEarthCatalog) Ursula Le Guin, [Always Coming Home](https://en.wikipedia.org/wiki/AlwaysComingHome) Gary Snyder's idea that "we are primitives of an unknown culture" is explored in Phil Ford, Dig: Sound and Music in Hip Culture (https://global.oup.com/academic/product/dig-9780199939916?cc=ca&lang=en&) Richard Brautigan, "All Watched Over by Machines of Loving Grace" (https://en.wikipedia.org/wiki/All_Watched_Over_by_Machines_of_Loving_Grace) (poem) [San Francisco Oracle](https://en.wikipedia.org/wiki/SanFranciscoOracle) Heidegger, [The Question Concerning Technology](https://en.wikipedia.org/wiki/TheQuestionConcerningTechnology)_

Music writing has always been something of an occult practice, trying by some weird alchemy to use concepts to describe stuff that defies the basic categories of intellect. So long as we stick to classical music, we can pretend that nothing too odd is happening, since the classical tradition has been steeped in notation for centuries. But when a musicologist attempts to analyze, say, an ambient track by Brian Eno, things aren't so simple. Suddenly notation won't do, and there comes the need to make use of every tool in the poet's shed. This episode focuses on a recently published article by Phil on this question. In due course, the discussion turns to the power of good writing: its capacity not just to convey an author's subjective impressions, but to disclose new facets of the ineffable, baroque objective world. SHOW NOTES Phil Ford, "Style as Analysis" in The Routledge Companion to Popular Music Analysis: Expanding Approaches (https://www.routledge.com/The-Routledge-Companion-to-Popular-Music-Analysis-Expanding-Approaches/Scotto-Smith-Brackett/p/book/9781138683112), edited by Ciro Scotto, Kenneth M. Smith and John Brackett Christopher Ricks, [Dylan's Vision of Sin](https://en.wikipedia.org/wiki/Dylan%27sVisionsofSin)_ Ferrucio Busoni, Sketch of a New Esthetic of Music (https://www.gutenberg.org/files/31799/31799-h/31799-h.htm) Susan McClary, Feminine Endings: Music, Gender, and Sexuality (https://www.upress.umn.edu/book-division/books/feminine-endings) Hans Ulrich Gumbrecht, Production of Presence: What Meaning Cannot Convey (https://www.sup.org/books/title/?id=1360) Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture-ebook/dp/B00DPJ6RE6) Jerry Hopkins, [No One Here Gets Out Alive](https://en.wikipedia.org/wiki/NoOneHereGetsOutAlive)_ Brian Eno, [Another Green World](https://en.wikipedia.org/wiki/AnotherGreenWorld) Mitchell Morris, The Persistence of Sentiment: Display and Feeling in Popular Music of the 1970s (http://california.universitypressscholarship.com/view/10.1525/california/9780520242852.001.0001/upso-9780520242852) William Youngren, “Balliett’s Bailiwick,” Partisan Review 32, no. 1 (Winter 1965) Whitney Balliett, Collected Works (https://www.goodreads.com/book/show/1168302.Collected_Works) E.M. Forster, [Aspects of the Novel](https://en.wikipedia.org/wiki/AspectsoftheNovel)_ Henri Bergson, [Matter and Memory](https://en.wikipedia.org/wiki/MatterandMemory)

JF and Phil head for Interzone in an attempt to solve the enigma of Naked Lunch, David Cronenberg's 1991 screen adaptation of William S. Burroughs' infamous 1959 novel. A treatise on addiction, a diagnosis of modern ills, a lucid portrait of the artist as cosmic transgressor, and like the book, "a frozen moment when everyone sees what is on the end of every fork," Naked Lunch is here framed in the light Cronenberg's recent speech making the case for the crime of art. Image by Melancholie, Wikimedia Commons (https://commons.wikimedia.org/wiki/File:Gabel.jpg). REFERENCES David Foster Wallace, "Westward the Course of Empire Takes Its Way," (https://en.wikipedia.org/wiki/Girl_with_Curious_Hair) from Girl With Curious Hair Gilles Deleuze and Félix Guattari, Anti-Oedipus (https://en.wikipedia.org/wiki/Anti-Oedipus), and "How Do You Make Yourself a Body Without Organs?" in [A Thousand Plateaus](https://en.wikipedia.org/wiki/AThousandPlateaus) David Cronenberg (writer-director), Naked Lunch (https://www.imdb.com/title/tt0102511/) (the film) William Burroughs, [Naked Lunch](https://en.wikipedia.org/wiki/NakedLunch)_ (the novel) Thomas De Quincey, [Confessions of an Opium-Eater](https://en.wikipedia.org/wiki/ConfessionsofanEnglishOpium-Eater) Dale Pendell, Pharmako/Poeia: Power Plants, Poisons and Herbcraft (https://www.amazon.com/Pharmako-Poeia-Revised-Updated-Herbcraft/dp/1556438052) "David Cronenberg: I would like to make the case for the crime of art," (https://www.theglobeandmail.com/opinion/article-the-crime-of-art/) Globe and Mail June 22 2018 JF Martel, [Reclaiming Art in the Age of Artifice](https://www.amazon.com/Reclaiming-Art-Age-Artifice-Manifesto/dp/1583945784/ref=sr11?s=books&ie=UTF8&qid=1536764053&sr=1-1&keywords=reclaiming+art+in+the+age+of+artifice) Phil Ford, Dig: Sound and Music in Hip Culture (https://www.amazon.com/Dig-Sound-Music-Hip-Culture/dp/0199939918) Derek Bailey (director), [On the Edge: Improvisation in Music](https://www.youtube.com/watch?v=edy2QlPjaU)_ Phil Ford, "Good Prose is Written By People Who Are Not Frightened" (https://dialmformusicology.com/2017/08/10/good-prose-is-written-by-people-who-are-not-frightened/) Geroge Orwell, "Inside the Whale" (https://en.wikipedia.org/wiki/Inside_the_Whale)

In this first part of their discussion of William James' classic essay in radical empiricism, "Does 'Consciousness' Exist?", Phil and JF talk about the various ways we use the slippery C-word in contemporary culture. The episode touches on the political charge of the concept of consciousness, the unholy marriage of materialism and idealism ("Kant is the ultimate hipster"), the role of consciousness in the workings of the weird -- basically, anything but the essay in question. That will come in part two. Header image by Miguel Bolacha (https://commons.wikimedia.org/wiki/User:MiguelBolacha), Wikimedia Commons REFERENCES William James, "Does 'Consciousness' Exist?" (http://fair-use.org/william-james/essays-in-radical-empiricism/does-consciousness-exist) Daniel Dennett, [Consciousness Explained](https://en.wikipedia.org/wiki/ConsciousnessExplained)_ Daniel Pinchbeck (http://www.pinchbeck.io/), author and founder of Reality Sandwich (http://realitysandwich.com/) Phil Ford, Dig: Sound and Music in Hip Culture (https://global.oup.com/academic/product/dig-9780199939916?cc=ca&lang=en&) Scott Saul, Freedom Is, Freedom Ain't: Jazz and the Making of the Sixties (http://www.hup.harvard.edu/catalog.php?isbn=9780674018532&content=reviews) Quentin Meillassoux, After Finitude: An Essay on the Necessity of Contingency (https://www.bloomsbury.com/us/after-finitude-9781441173836/) Matt Cardin (http://www.mattcardin.com/) - author and editor, creator of The Teeming Brain (http://www.teemingbrain.com/)

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices

What is hip? Can a piece of music be hip? Or is hipness primarily a way of engaging with music which recognizes the hip potential of the music? Or primarily a manner of being, which allows the hip individual to authentically engage with the hip artwork? Whatever the case may be, we know that the hip is meant to be authentic. We know that it is opposed to the square:all that is inauthentic, conformist, and authoritarian. And we know that attempts to understand hipness tend to locate it in the sonorous immediacy of musical experience. Phil Ford‘s, Dig: Sound and Music in Hip Culture (Oxford University Press, 2013) uses these attempts to understand hipness as an entry into the altogether more intractable problem of defining hipness itself. Ford traces the hip sensibility from its roots in the African-American subcultures that arose in cities such as New York and Chicago in the aftermath of the Great Migration, through its adoption (or appropriation) by the beat poets of the 1950s and the counterculture movement of the 1960s. In doing so, he marshals a wide array of sources:newspaper columns, jazz improvisations, political posters, liner notes, diaries, and amateur acetate recordings, all grappling — in creative, illuminating, and sometimes painful ways — with the impossibility of capturing the lived experience of hipness. In the closing chapters of the book, he turns to two specific figures, Norman Mailer (a major writer), and John Benson Brooks (a somewhat peripheral jazz musician), reevaluating their works — and perhaps more importantly, their methods of working — in the light of the hip aesthetics described in the earlier sections of the book. Further Listening/Viewing/Reading: John Benson Brooks Trio: Avant Slant Thomas Frank: The Conquest of Cool Fruity Pebbles Rap Rip Torn attacks Norman Mailer with a Hammer Learn more about your ad choices. Visit megaphone.fm/adchoices