Podcasts about Disquiet

This week on Hold Your Fire!, Richard speaks with Crisis Group's Myanmar expert Richard Horsey about the devastating earthquake that struck Myanmar last week, challenges facing relief efforts and implications for the country's civil war and its military leaders.In this episode of Hold Your Fire!, Richard is joined by Crisis Group's Myanmar expert Richard Horsey to discuss the aftermath of the earthquake that struck central Myanmar last Friday. They examine the devastation in Myanmar's second largest city, Mandalay, and other hard-hit areas, how U.S. aid cuts have hampered the emergency response and the extent to which China and others have stepped in. They explore how Myanmar's civil war complicates relief efforts, with the army largely absent from rescue operations, and whether the disaster might impact military leader Min Aung Hlaing's grip on power. They also unpack the evolving policies of Myanmar's big neighbours, China and India, and what might break a stalemate in an increasingly intractable and neglected crisis.Click here to listen on Apple Podcasts or Spotify. For more, check out our recent Q&A “Support Vital for Myanmar's Quake Victims, Despite Military Obstacles”, our briefing “Disquiet on the Western Front: A Divided Resistance in Myanmar's Chin State” and our Myanmar country page. Hosted on Acast. See acast.com/privacy for more information.

Part 9 of "Esther: For Such a Time as This"

After enjoying her new book Open Socrates so much (and having written about her previous book Aspiration in Second Act), I was delighted to talk to Agnes Callard, not least because, as she discusses in Open Socrates, she is a big Tolstoy admirer. We talked about Master and Man, one of my favourite Tolstoy stories, but also about the value of reading fiction, the relationship between fiction and a thought experiment, and other topics of related interest. George Eliot makes an appearance too. In the discussion about the use of fiction in philosophy classes, I was slightly shocked to hear about how much (or how little) reading her undergraduates are prepared to do, but I was interested that they love Pessoa. Agnes has previously written that the purpose of art is to show us evil. Here is Agnes on Twitter. Transcript below, may contain errors!I found this especially interesting.Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Transcript (AI generated)Henry: Today, I am talking to Agnes Callard, professor of philosophy at the University of Chicago, author of Aspiration, and now most recently, Open Socrates. But to begin with, we are going to talk about Tolstoy. Hello, Agnes: .Agnes: Hello.Henry: Shall we talk about Master of Man first?Agnes: Yeah, absolutely.Henry: So this is one of Tolstoy's late stories. I think it's from 1895. So he's quite old. He's working on What is Art? He's in what some people think is his crazy period. And I thought it would be interesting to talk about because you write a lot in Open Socrates about Tolstoy's midlife crisis, for want of a better word. Yeah. So what did you think?Agnes: So I think it's sort of a novel, a story about almost like a kind of fantasy of how a midlife crisis could go if it all went perfectly. Namely, there's this guy, Brekhunov, is that his name? And he is, you know, a landowner and he's well off and aristocratic. And he is selfish and only cares about his money. And the story is just, he takes this, you know, servant of his out to, he wants to go buy a forest and he wants to get there first before anyone else. And so he insists on going into this blizzard and he gets these opportunities to opt out of this plan. And he keeps turning them down. And eventually, you know, they end up kind of in the middle of the blizzard. And at kind of the last moment, when his servant is about to freeze to death, he throws himself on top of the servant and sacrifices himself for the servant. And the reason why it seems like a fantasy is it's like, it's like a guy whose life has a lacuna in it where, you know, where meaning is supposed to be. And he starts to get an inkling of the sort of terror of that as they're spending more and more time in the storm. And his initial response is like to try to basically abandon the servant and go out and continue to get to this forest. But eventually he like, it's like he achieves, he achieves the conquest of meaning through this heroic act of self-sacrifice that is itself kind of like an epiphany, like a fully fulfilling epiphany. He's like in tears and he's happy. He dies happy in this act of self-sacrifice. And the fantasy part of it is like, none of it ever has to get examined too carefully. It doesn't like, his thought doesn't need to be subjected to philosophical scrutiny because it's just this, this one momentary glorious kind of profusion of love. And then it all ends.Henry: So the difficult question is answered the moment it is asked. Exactly, exactly, right?Agnes: It's sort of, it's, I see it as like a counterpart to the death of Ivan Ilyich.Henry: Tell me, tell me more.Agnes: Well, in the death of Ivan Ilyich, the questions surface for even, you know, when death shows up for him. And he suddenly starts to realize, wait a minute, I've lived my whole life basically in the way that Brekhunov did. Basically in the way that Brekhunov does as, you know, pursuing money, trying to be a socially successful person. What was the point of all that? And he finds himself unable to answer it. And he finds himself, it's the exact opposite. He becomes very alienated from his wife and his daughter, I think.Henry: Yeah.Agnes: And the absence of an answer manifests as this absence of connection to anyone, except an old manservant who like lifts up his legs and that's the one relief that he gets. And, you know, it's mostly in the gesture of like someone who will sacrifice themselves for another. Right, that's once again where sort of meaning will show up for a Tolstoy, if it ever will show up in a kind of direct and unashamed way.Henry: Right, the exercise of human compassion is like a running theme for him. Like if you can get to that, things are going great. Otherwise you've really screwed up.Agnes: Yeah, that's like Tolstoy's deus ex machina is the sudden act of compassion.Henry: Right, right. But you think this is unphilosophical?Agnes: I think it's got its toe in philosophical waters and sort of not much more than that. And it's in a way that makes it quite philosophical in the sense that there's a kind of awareness of like a deep puzzle that is kind of like at the heart of existence. Like there's a sensitivity to that in Tolstoy that's part of what makes him a great writer. But there's not much faith in the prospect of sort of working that through rationally. It's mostly something we just got a gesture at.Henry: But he does think the question can be answered. Like this is what he shares with you, right? He does think that when you're confronted with the question, he's like, it's okay. There is an answer and it is a true answer. We don't just have to make some, he's like, I've had the truth for you.Agnes: Yes, I think that that's right. But I think that like the true answer that he comes to is it's compassion and it's sort of religiously flavored compassion, right? I mean, that it's important. It's not just. Yeah, it's a very Christian conclusion. Right, but the part that's important there in a way, even if it's not being Christian, but that it's being religious in the sense of, yes, this is the answer. But if you ask for too much explanation as to what the answer is, it's not going to be the right answer. But if you ask for too much explanation as to why it's the answer, you're going the wrong way. That is, it's gotta, part of the way in which it's the answer is by faith.Henry: Or revelation.Agnes: Or, right, faith, exactly. But like, but it's not your task to search and use your rational faculties to find the answer.Henry: I wonder though, because one of the things Tolstoy is doing is he's putting us in the position of the searcher. So I read this, I'm trying to go through like all of Tolstoy at the moment, which is obviously not, it's not currently happening, but I'm doing a lot of it. And I think basically everything in Tolstoy is the quest for death, right? Literature is always about quests. And he's saying these characters are all on a quest to have a good death. And they come very early or very late to this. So Pierre comes very early to this realization, right? Which is why he's like the great Tolstoy hero, master of man, Ivan Ilyich, they come very, and Tolstoy is like, wow, they really get in under the wire. They nearly missed, this is terrible. And all the way through this story, Tolstoy is giving us the means to see what's really going on in the symbolism and in all the biblical references, which maybe is harder for us because we don't know our Bible, like we're not all hearing our Bible every week, whereas for Tolstoy's readers, it's different. But I think he's putting us in the position of the searcher all the time. And he is staging two sides of the argument through these two characters. And when they get to the village and Vasily, he meets the horse thief and the horse thief's like, oh, my friend. And then they go and see the family and the family mirrors them. And Tolstoy's like, he's like, as soon as you can see this, as soon as you can work this out, you can find the truth. But if you're just reading the story for a story, I'm going to have to catch you at the end. And you're going to have to have the revelation and be like, oh my God, it's a whole, oh, it's a whole thing. Okay, I thought they were just having a journey in the snow. And I think he does that a lot, right? That's, I think that's why people love War and Peace because we go on Pierre's journey so much. And we can recognize that like, people's lives have, a lot of people's lives happen like that. Like Pierre's always like half thinking the question through and then half like, oh, there's another question. And then thinking that one through and then, oh, no, wait, there's another question. And I think maybe Tolstoy is very pragmatic. Like that's as philosophical as most people are going to get. Pierre is in some ways the realistic ideal.Agnes: I mean, Pierre is very similar to Tolstoy just in this respect that there's a specific like moment or two in his life where, he basically has Tolstoy's crisis. That is he confronts these big questions and Tolstoy describes it as like, there was a screw in his head that had got loose and he kept turning it, but it kept, it was like stripped. And so no matter when you turned it, it didn't go. It didn't grab into anything. And what happens eventually is like, oh, he learns to have a good conventional home life. Like, and like not, don't ask yourself these hard questions. They'll screw you up. And I mean, it's not exactly compassion, but it's something close to that. The way things sort of work out in War and Peace. And I guess I think that you're sort of right that Tolstoy is having us figure something out for ourselves. And in that way, you could say we're on a journey. There's a question, why? Why does he have us do that? Why not just tell us? Why have it figured out for ourselves? And one reason might be because he doesn't know, that he doesn't know what he wants to tell us. And so you got to have them figure out for themselves. And I think that that is actually part of the answer here. And it's even maybe part of what it is to be a genius as a writer is to be able to write from this place of not really having the answers, but still be able to help other people find them.Henry: You don't think it's, he wants to tell us to be Christians and to believe in God and to take this like.Agnes: Absolutely, he wants to tell us that. And in spite of that, he's a great writer. If that were all he was achieving, he'd be boring like other writers who just want to do that and just do that.Henry: But you're saying there's something additional than that, that is even mysterious to Tolstoy maybe.Agnes: Yeah.Henry: Did you find that additional mystery in Master in Man or do you see that more in the big novels?Agnes: I see it the most in Death of Ivan Ilyich. But I think it's true, like in Anna Karenina, I can feel Tolstoy being pulled back and forth between on the one hand, just a straight out moralistic condemnation of Anna. And of, there are the good guys in this story, Levine and Kitty, and then there's this like evil woman. And then actually being seduced by her charms at certain moments. And it's the fact that he is still susceptible to her and to the seductions of her charms, even though that's not the moral of the story, it's not the official lesson. There's like, he can't help but say more than what the official lesson is supposed to be. And yeah, I think if he were just, I think he makes the same estimation of himself that I am making in terms of saying, look, he finds most of his own art wanting, right? In what is art? Because it's insufficiently moralistic basically, or it's doing too much else besides being, he's still pretty moralistic. I mean, even War and Peace, even Anna Karenina, he's moralistic even in those texts, but his artistry outstrips his moralism. And that's why we're attracted to him, I think. If he were able to control himself as a writer and to be the novelist that he describes as his ideal in what is art, I don't think we would be so interested in reading it.Henry: And where do you see, you said you saw it in Ivan Ilyich as well.Agnes: Yes, so I think in Ivan Ilyich, it is in the fact that there actually is no deus ex machina in Ivan Ilyich. It's not resolved. I mean, you get this little bit of relation to the servant, but basically Ivan Ilyich is like the closest that Tolstoy comes to just like full confrontation with the potential meaninglessness of human existence. There's something incredibly courageous about it as a text.Henry: So what do you think about the bit at the end where he says he was looking for his earlier accustomed fear of death, but he couldn't find it. Where was death? What death? There was no fear whatsoever because there was no death. Instead of death, there was light. Suddenly he said, oh, that's it, oh bliss.Agnes: Okay, fair enough. I'd like forgotten that.Henry: Oh, okay. Well, so my feeling is that like you're more right. So my official thing is like, I don't agree with that, but I actually think you're more right than I think because to me that feels a bit at the end like he saw the light and he, okay, we got him right under the line, it's fine. And actually the bulk of the story just isn't, it's leading up to that. And it's the very Christian in all its imagery and symbolism, but it's interesting that this, when it's, this is adapted into films like Ikiru and there was a British one recently, there's just nothing about God. There's nothing about seeing the light. They're just very, very secular. They strip this into something totally different. And I'm a little bit of a grumpy. I'm like, well, that's not what Tolstoy was doing, but also it is what he was doing. I mean, you can't deny it, right? The interpreters are, they're seeing something and maybe he was so uncomfortable with that. That's why he wrote what is art.Agnes: Yeah, and that's the, I like that. I like that hypothesis. And right, I think it's like, I sort of ignore those last few lines because I'm like, ah, he copped out at the very end, but he's done the important, he's done the important, the important work, I think, is for instance, the scene with, even on his wife, where they part on the worst possible terms with just hatred, you know, like just pure hatred for the fact that she's forcing him to pretend that he isn't dying. Like that is like the profound moment.Henry: What I always remember is they're playing cards in the other room. And he's sitting there, he's lying there thinking about like the office politics and curtain, like what curtain fabrics we have to pick out and the like, his intense hatred of the triviality of life. And I love this because I think there's something, like a midlife crisis is a bit like being an adolescent in that you go through all these weird changes and you start to wonder like, who am I? What is my life? When you're an adolescent, you're told that's great. You should go ahead and you should, yes, lean into that. And when you're like in your forties, people are going, well, try and just put a lid on that. That's not a good idea. Whereas Tolstoy has the adolescent fury of like curtains and cards. Oh my, you know, you can feel the rage of his midlife crisis in some of that seemingly mundane description. Yeah. I think that's what we respond to, right? That like his hatred in a way.Agnes: Yeah. I mean, maybe we, many of us just have trouble taking ourselves as seriously as Tolstoy was able to, you know? And that's something, there's something glorious about that, that anyone else would listen to the people around them telling him, hey, don't worry, you're a great guy. Look, you wrote these important novels. You're a hero of the Russian people. You've got this wife, you're an aristocrat. You've got this family, you've got your affairs. I mean, come on, you've got everything a man could want. Just be happy with it all, you know? Many of us might be like, yeah, okay, I'm being silly. And Tolstoy is like, no one's going to tell me that I'm silly. Like I'm the one who's going to tell myself, if anything. And that kind of confidence is, you know, why he's sort of not willing to dismiss this thought.Henry: Yeah, yeah, interesting. So how do you think of Master and Man in relation to all the others? Because you know Tolstoy pretty well. You teach him a lot. How do you place it? Like how good do you think it is?Agnes: I don't teach him a lot. I'm trying to think if I ever taught Tolstoy.Henry: Oh, I'm sorry. I thought I read that you had.Agnes: I've taught The Death of Ivan Ilyich. That's the one, I have taught that one. I wish, I mean, I would love to teach. I just can't imagine assigning any of these novels in a philosophy, my students wouldn't read it.Henry: They wouldn't read it?Agnes: No.Henry: Why?Agnes: It's pretty hard to get people to read long texts. And I mean, some of them certainly would, okay, for sure. But if I'm, you know, in a philosophy class where you'd have to kind of have pretty high numbers of page assignments per class, if we're going to, I mean, you know, forget War and Peace. I mean, even like Ivan Ilyich is going to be pushing it to assign it for one class. I've learned to shorten my reading assignments because students more and more, they're not in the habit of reading. And so I got to think, okay, what is the minimum that I can assign them that where I can predict that they will do it? Anyway, I'm going to be pushing that next year in a class I'm teaching. I normally, you know, I assign fiction in some of my classes but that's very much not a thing that most philosophers do. And I have to sign it alongside, you know, but so it's not only the fiction they're reading, they're also reading philosophical texts. And anyway, yeah, no, so I have not done much, but I have done in a class on death, I did assign Ivan Ilyich. I don't tend to think very much about the question, what is the level of quality of a work of art?Henry: Well, as in, all I mean is like, how does it compare for you to the other Tolstoy you've read?Agnes: I, so the question that I tend to ask myself is like, what can I learn from it or how much can I learn? Not, it's not because I don't think the question of, the other one is a good one. I just think I trust other people's judgment more than mine unlike artistic quality. And I guess I think it's not as good as Death of Ivan Ilyich and I kind of can't see, like, it's like, what do I learn from it that I don't learn from Death of Ivan Ilyich? Which is like a question that I ask myself. And, there's a way in which that like that little final move, maybe when I'm reading Death of Ivan Ilyich, I can ignore that little final bit and here I can't ignore it. Tolstoy made it impossible for me to ignore in this story. So that's maybe the advantage of this story. Tolstoy makes his move more overt and more dominating of the narrative.Henry: Yeah, I think also, I've known people who read Ivan Ilyich and not really see that it's very Christian. Yeah, oh yeah.Agnes: I don't think I- Much less.Henry: Yeah.Agnes: That's what I'm doing. I'm erasing that from the story.Henry: But that's like much less possible with this one. I agree.Agnes: Right, exactly. That's sort of what I mean is that- Yeah, yeah, yeah. It's like, here the message is more overt. And so therefore I think it's actually a pretty important story in that way. Like, let's say for understanding Tolstoy. That is, if you were to try to take your view of Tolstoy and base it on Death of Ivan Ilyich, which sometimes I do in my own head, because it's occupied such an important place for me, then this is a good way to temper that.Henry: Yeah, they make a nice pairing. Yeah. Yeah, definitely. Let's pick up on this question about philosophers and fiction because you write about that in Open Socrates. You say, great fiction allows us to explore what we otherwise look away from. So it makes questions askable, but then you say only in relation to fictional characters, which you think is a limitation. Are you drawing too hard of a line between fictional characters and real people? Like if someone said, oh, we found out, we were in the archives, Ivan Ilyich, he didn't, it's not fiction. He was just a friend, just happened to a friend, basically word for word. He just did the work to make it kind of look okay for a novel, but basically it's just real. Would that really change very much?Agnes: I think it wouldn't, no. So it might change a little bit, but not that much. So maybe the point, maybe a better thing I could have said there is other people. That is one thing that fictional people are is resolutely other. There's no chance you're going to meet them. And like they are, part of what it is for them to be fictional is that, there isn't even a possible world in which you meet them because metaphysically what they are is the kind of thing that can't ever interact with you. And, like the possible world in which I run into Ivan and Ivan Ilyich is the world in which he's not a Tolstoy character anymore. He's not a character in a novel, obviously, because we're both real people. So I think it's that there's a kind of safety in proving the life of somebody who is not in any way a part of your life.Henry: The counter argument, which novelists would make is that if you gave some kind of philosophical propositional argument about death, about what it means to die, a lot of people just wouldn't, they'd like, maybe they'd understand what you're saying, but it just wouldn't affect them very much. Whereas if they've read Ivan Ilyich, this will actually affect them. I don't want to say it'll resonate with them, but you know what I mean. It will catch them in some way and they're more likely then to see something in their own life and be like, oh my God, I'm appreciating what Ivan Ilyich was telling me. Whereas, this is the argument, right? The statistics of social science, the propositions of philosophy, this just never gets through to people.Agnes: Yeah, so one way to put this is, novelists are fans of epiphanies. I mean, some novelists, like Tolstoy, it's quite explicit. You just get these epiphanies, right? Like in this story, epiphany. James Joyce, I mean, he's like master of every story in Dubliners, epiphany. Novelists have this fantasy that people's lives are changed in a sudden moment when they have a passionate, oh, I just read this story and I'm so happy about it. And I don't actually doubt that these things happen, these epiphanies, that is people have these passionate realizations. I don't know how stable they are. Like they may have a passionate realization and then, maybe it's a little bit the novelist's fantasy to say you have the passionate realization and everything is changed. In this story, we get around that problem because he dies, right? So, that, I don't know. I somehow am now James Joyce. I don't know. I somehow am now James Joyce is in my head. The final story in Dubliners is the dead. And there's this like, amazing, I don't know who read the story.Henry: Yeah, yeah. Also with snow, right?Agnes: Yeah, exactly.You know, and it's this amazing where this guy is realizing his wife, their relationship is not what he thought it was, whatever. But then the story ends, does he really change? Like, do they just go on and have the same marriage after that point? We don't know. I mean, Joyce avoids that question by having the story end. But, so you might say, you know, novelists like epiphanies and they're good at writing epiphanies and producing epiphanies and imagining that their readers will have epiphanies. And then there's a question, okay, how valuable is the epiphany? And I think, not nothing. I wouldn't put it at zero, but you might say, okay, but let's compare the epiphany and the argument, right? So, what philosophers and the social scientists have, what we have is arguments. And who's ever been changed by an argument? And I think I would say all of human history has been changed by arguments and it's pretty much the only thing that's ever done anything to stably change us is arguments. If you think about, like, what are the things we've moved on? What are the things we've come around on? You know, human rights, there's a big one. That's not a thing in antiquity. And it's a thing now. And I think it's a thing because of arguments. Some of those arguments, you know, are starting to come in their own in religious authors, but then really come in, the flourishing is really the enlightenment. And so you might think, well, maybe an argument is not the kind of thing that can change very easily an adult who was already pretty set in their ways and who is not going to devote much of their time to philosophizing. It isn't going to give them the kind of passionate feeling of your life has suddenly been turned around by an epiphany, but it might well be that if we keep arguing with each other, that is how humanity changes.Henry: I think a lot of the arguments were put into story form. So like the thing that changed things the most before the enlightenment maybe was the gospels. Which is just lots of stories. I know there are arguments in there, but basically everything is done through stories. Or metaphor, there's a lot of metaphor. I also think philosophers are curiously good at telling stories. So like some of the best, you know, there's this thing of micro fiction, which is like very, very short story. I think some of the best micro fiction is short stories. Is a thought experiment, sorry. Yeah. So people like Judith Jarvis Thompson, or well, his name has escaped my head, Reasons and Persons, you know who I mean? Derek Parfit, right. They write great short stories. Like you can sit around and argue about long-termism with just propositions, and people are going to be either like, this makes total sense or this is weird. And you see this when you try and do this with people. If you tell them Parfit's thought experiment that you drop a piece of glass in the woods, and a hundred years later, a little girl comes in and she cuts up. Okay, everyone's a long-termist in some way now. To some extent, everyone is just like, of course. Okay, fine. The story is good. The famous thought experiment about the child drowning in the pond. And then, okay, the pond is like 3000. Again, everyone's like, okay, I get it. I'm with you. Philosophers constantly resort to stories because they know that the argument is, you have to have to agree with you. You've got to have the argument. The argument's the fundamental thing. But when you put it in a story, it will actually, somehow it will then do its work.Agnes: I think it's really interesting to ask, and I never asked myself this question, like what is the relationship between a thought experiment and a story? And I think that, I'm fine with a thought experiment with saying it's a kind of story, but I think that, so one feature of a thought experiment is that the person who is listening to it is given often a kind of agency. Like, which way do you push the trolley? Or do you care that you left this piece of glass there? Or are you, suppose that the pond was so many miles away but there was a very long hand that reached from here and you put a coin in the machine and at the other end, the hand will pull the child out of the water. Do you put the coin in, right? So like you're given these choices. It's like a choose your own adventure story, right? And that's really not what Tolstoy wrote. He really did not write choose your own adventure stories. There's a, I think he is-Henry: But the philosopher always comes in at the end and says, by the way, this is the correct answer. I'm giving you this experiment so that you can see that, like, I'm proving my point. Peter Singer is not like, it's okay if you don't want to jump into the pond. This is your story, you can pick. He's like, no, you have to jump in. This is why I'm telling you the story.Agnes: That's right, but I can't tell it to you without, in effect, your participation in the story, without you seeing yourself as part of the story and as having like agency in the story. It's by way of your agency that I'm making your point. Part of why this is important is that otherwise philosophers become preachers, which is what Tolstoy is when he's kind of at his worst. That is, you know, the philosopher doesn't just want to like tell you what to think. The philosopher wants to show you that you're already committed to certain conclusions and he's just showing you the way between the premises you already accept and the conclusion that follows from your premises. And that's quite-Henry: No, philosophers want to tell you the particular, most philosophers create a thought experiment to be like, you should be a virtue ethicist or you should give money away. Like they're preaching.Agnes: I don't think that is preaching. So I think that, and like, I think that this is why so many philosophical thought experiments are sort of meant to rely on what people call intuitions. Like, oh, but don't you have the intuition that? What is the intuition? The intuition is supposed to be somehow the kind of visceral and inchoate grasp that you already have of the thing I am trying to teach you. You already think the thing I'm telling you. I'm just making it clear to you what you think. And, you know, like there's like, I want to go back to the gospels. Like, I think it's a real question I have. I'm going to get in trouble for saying this, but I feel like something I sometimes think about Jesus and I say this as a non-Christian, is that Jesus was clearly a really exceptional, really extraordinary human being. And maybe he just never met his Plato. You know, he got these guys who are like telling stories about him. But like, I feel like he had some really interesting thoughts that we haven't accessed. Imagine, imagine if Socrates only ever had Xenophon. You know, if Socrates had never met Plato. We might just have this story about Socrates. Oh, he's kind of like a hero. He was very self-sacrificing. He asked everyone to care about everybody else. And he might like actually look quite a bit like Jesus on a sort of like, let's say simplistic picture of him. And it's like, maybe it's a real shame that Jesus didn't have a philosopher as one of the people who would tell a story about him. And that if we had that, there would be some amazing arguments that we've missed out on.Henry: Is Paul not the closest thing to that?Agnes: What does he give us?Henry: What are the arguments? Well, all the, you know, Paulian theology is huge. I mean, all the epistles, they're full of, maybe, I don't know if they're arguments more than declarations, but he's a great expounder of this is what Jesus meant, you should do this, right? And it's not quite what you're saying.Agnes: It's conclusions, right?Henry: Yes, yes.Agnes: So I think it's like, you could sort of imagine if we only had the end of the Gorgias, where Socrates lists some of his sayings, right? Yes, exactly, yes. You know, it's better to have injustice done to you than to do injustice. It's better to be just than to appear just. Oratories should, you should never flatter anyone under any circumstances. Like, you know, there's others in other dialogues. Everyone desires the good. There's no such thing as weakness of will, et cetera. There are these sort of sayings, right? And you could sort of imagine a version of someone who's telling the story of Socrates who gives you those sayings. And yeah, I just think, well, we'd be missing a lot if we didn't hear the arguments for the sayings.Henry: Yeah, I feel stumped. So the next thing you say about novelists, novelists give us a view onto the promised land, but not more. And this relates to what you're saying, everything you've just been saying. I want to bring in a George Eliot argument where she says, she kind of says, that's the point. She says, I'm not a teacher, I'm a companion in the struggle of thought. So I think a lot of the time, some of the differences we're discussing here are to do with the readers more than the authors. So Tolstoy and George Eliot, Jane Austen, novelists of their type and their caliber. It's like, if you're coming to think, if you're involved in the struggle of thought, I'm putting these ideas in and I'm going to really shake you up with what's happening to these people and you're going to go away and think about it and Pierre's going to stay with you and it's really going to open things up. If you're just going to read the story, sure, yeah, sure. And at the end, we'll have the big revelation and that's whoopee. And that's the same as just having the sayings from Socrates and whatever. But if you really read Middlemarch, one piece, whatever, Adam Bede is always the one that stays with me. Like you will have to think about it. Like if you've read Adam Bede and you know what happens to Hetty at the end, this has the, oh, well, I'm not going to spoil it because you have to read it because it's insane. It's really an exceptional book, but it has some of those qualities of the thought experiment. She really does put you, George Eliot's very good at this. She does put you in the position of saying like, what actually went right and wrong here? Like she's really going to confront you with the situation but with the difficulty of just saying, oh, you know, that's easy. This is what happened. This is the bad thing. Well, there were several different things and she's really putting it up close to you and saying, well, this is how life is. You need to think about that.Agnes: So that last bit, I mean, I think that this is how life is part. Yeah. Really do think that that's something you get out of novels. It's not, so here's how you should live it or so here's why it makes sense, or here are the answers. It's none of the answers, I think. It's just that there's a kind of, it's like, you might've thought that given that we all live lives, we live in a constant contact with reality but I think we don't. We live in a bubble of what it's, the information that's useful to me to take in at any given moment and what do I need in order to make it to the next step? And there's a way in which the novel like confronts you with like the whole of life as like a spectacle or something like that, as something to be examined and understood. But typically I think without much guidance as to how you should examine or understand it, at least that's my own experience of it is that often it's like posing a problem to me and not really telling me how to solve it. But the problem is one that I often, under other circumstances, I'm inclined to look away from and the novelist sort of forces me to look at it.Henry: Does that mean philosophers should be assigning more fiction?Agnes: I, you know, I am in general pretty wary of judgments of that kind just because I find it hard to know what anyone should do. I mean, even myself, let alone all other philosophers.Henry: But you're the philosopher. You should be telling us.Agnes: No, I actually just don't think that is what philosophers do. So like, it was like a clear disagreement about, you know, is the, like George Eliot's like, I'm not a teacher, but the philosopher also says I'm not a teacher. I mean, Tolstoy was like, I am a teacher.Henry: Yeah, I'm a teacher.Agnes: I'm ready to guide you all.Henry: You should take notes.Agnes: But I think it's right that, yeah. So I think it's like, you know, maybe they have some other way of forcing that confrontation with reality. But I, my own feeling is that philosophers, when they use examples, including some of the thought experiments, it's sort of the opposite of what you said. It's kind of like they're writing very bad fiction. And so they'll come up with these, like I am philosophy. We have to, we're forced to sort of come up with examples. And, you know, I discuss one in my aspiration book of, oh, once upon a time, there was a guy. And when he was young, he wanted to be a clown, but his family convinced him that he should be an investment banker and make money. And so he did that. But then when he was older, he finally recovered this long lost desire. And then he became a clown and then he was happy. It's a story in an article by a philosopher I respect. Okay, I like her very much. And I haven't read it in a long time. So I'm hoping I'm summarizing it correctly. But my point is like, and this is supposed to be a story about how sort of self-creation and self-realization and how you can discover your authentic self by contrast with like the social forces that are trying to make you into a certain kind of person. But it's also, it's just a very bad piece of fiction. And I'm like, well, you know, if I'm say teaching a class on self-creation as I do sometimes, I'm like, well, we can read some novelists who write about this process and they write about it in a way that really shows it to us, that really forces us to confront the reality of it. And that story was not the reality. So if you have some other way to do that as a philosopher, then great. I'm very instrumental about my use of fiction, but I haven't found another way.Henry: Which other fiction do you use in the self-creation class?Agnes: So in that class, we read Portrait of the Artist as a Young Man and Elena Ferrante's My Brilliant Friend. And we also read some Fernando Pessoa.Henry: Pessoa, what do your students think of Pessoa?Agnes: They love it. So when I first assigned it, I'm like, I don't know what you guys are going to make of this. It's kind of weird. We're reading like just, you know, 20 pages of excerpts I like from the Book of Disquiet. I mean, it's like my own text I'm creating, basically. I figure with that text, you can do a choose your own adventure. And they like it a lot. And I think that it really, that, you know, the thing that really resonates with them is this stuff where he talks. So there are two passages in particular. So one of them is, one where he talks about how he's like, yeah, he meets his friend. And he can't really listen to what his friend is saying, but he can remember with photographic precision the lines on the face when he's smiling, or like, it's like what he's saying is, I'm paying attention to the wrong thing. Like I'm paying attention to the facial expressions and not to the content. And that I'm somebody who's in a world where my organization of my own experience is not following the rules that are sort of being dictated to me about how my experience is supposed to be organized. And that's sort of his predicament. So that's a thing that they like. And then there's a wonderful passage about how I keep trying to free myself from the social forces oppressing me. And I take away this noose that's around my neck. And as I'm doing it, I realize my hand is attached to a noose and it's pulling me. Like I'm the one who's doing, I'm the one who's suffocating myself all along when I'm trying to free myself from social forces, it's me who's doing the oppressing. Anyway, so those are some passages that we talk about that they like. They like it a lot. They have a lot less trouble making something of it than I had expected that they would.Henry: Is this because he, is he well-suited to the age of social media and phones and fragmented personalities and you're always 16 different people? Is it that kind of thing?Agnes: Partly it's the short texts. I mean, as I said, meeting a problem, right? And so, yeah. So like they like Nietzsche too, probably for the same reason, right? I mean, anything where the-Henry: The aphorism.Agnes: Yeah, exactly. Like no joke. You know, it's not the era for War and Peace. It's the era for the Nietzschean aphorism.Henry: This is so depressing. I thought this wasn't true.Agnes: Yeah, I think it's true. I like, I had a conversation with a student in my office yesterday about this and about how like just his own struggles with reading and how all his friends have the same problem. And, you know, I have made some suggestions and I think maybe I need to push them harder in terms of, you know, just university creating device-free spaces and then people having like, I think we have to view it the way we view exercise. Like none of us would exercise if we didn't force ourselves to exercise. And we use strategies to do it. Like, you know, you have a friend and you're going to go together or, you know, you make a habit of it or whatever. I mean, like, I think we just have to approach reading the same way. Just let's accept that we're in an environment that's hostile to reading and make it a priority and organize things to make it possible rather than just like pretending that there isn't a problem. But yeah, there is. And it's hard for us to see. So you're not as old as me, but I'm old enough that all of my reading habits were formed in a world without all of this, right? So of course it's way easier for me. Even I get distracted, but, you know, for me spending a couple of hours in the evening reading, that's like a thing I can do. But like a lot of people, okay, I was at a like tech, in a little tech world conference in California. And it was early in the morning and my husband wasn't awake yet. So I was just, and it was one of these conferences where there's like a little group room and then you have your own, like we had like a hotel room type room, but like then I would had to be in the room with my husband who was sleeping. I couldn't turn the light on. So it was early. I woke up at four. So I went to the group room just to read. And I'm sitting there reading and someone came up to me and they were like, I can't believe you're just sitting there like reading. I don't think I've seen someone read a book in, you know, he's like ever or something, maybe. I mean, he's a half my age. Like he's like, that's just not a thing that people do. And it was like, he's like, it's so on brand that you're reading, you know? But it's like, it's, I think it's just, it's much harder for people who have grown up with all of this stuff that is in some way hostile to the world of reading. Yeah, it's much harder for them than for us. And we should be reorganizing things to make it easier.Henry: Yeah, I get that. I'm just, I'm alarmed that they can't read, like the depth of Ivan Ilyich. It's like, I don't know, it's like 50 pages or.Agnes: Yeah, for one class, no.Henry: It's very short. It's very short.Agnes: That's not short. 50 pages is not short.Henry: It's an hour or two hours of reading.Agnes: It's like, yeah, between two and three. They also read slower because they don't read as much.Henry: Okay, but you know what I'm like…Agnes: Yeah, right, three hours of reading is a lot to assign for a class. Especially if, in my case, I always also assign philosophy. So it's not the only thing I'm assigning.Henry: Sure, sure, but they read the philosophy.Agnes: Same problem. I mean, it's not like some different problem, right? Same problem, and in fact, they are a little bit more inclined to read the fiction than the philosophy, but the point is the total number of pages is kind of what matters. And from that point of view, philosophy is at an advantage because we compress a lot into very few pages. So, but you know, and again, it's like, it's a matter of like, it's probably not of the level. So I can, you know, I can be more sure that in an upper level class, students will do the reading, but I'm also a little bit more inclined to assign literature in the lower level classes because I'm warming people up to philosophy. So, yeah, I mean, but I think it is alarming, like it should be alarming.Henry: Now, one of the exciting things about Open Socrates, which most people listening to this would have read my review, so you know that I strongly recommend that you all read it now, but it is all about dialogue, like real dialogue. And can we find some, you know, I don't want to say like, oh, can we find some optimism? But like, people are just going to be reading less, more phones, all this talk about we're going back to an oral culture. I don't think that's the right way to phrase it or frame it or whatever, but there's much more opportunity for dialogue these days like this than there used to be. How can Open Socrates, how can people use that book as a way of saying, I want more, you know, intellectual life, but I don't want to read long books? I don't want to turn this into like, give us your five bullet points, self-help Socrates summary, but what can we, this is a very timely book in that sense.Agnes: Yeah, I kind of had thought about it that way, but yeah, I mean, it's a book that says, intellectual life in its sort of most foundational and fundamental form is social, it's a social life, because the kinds of intellectual inquiries that are the most important to us are ones that we can't really conduct on our own. I do think that, I think that some, there is some way in which, like as you're saying, novels can help us a little bit sort of simulate that kind of interaction, at least some of the time, or at least put a question on the table. I sort of agree that that's possible. I think that in terms of social encounters doing it, there are also other difficulties though. Like, so it's, we're not that close to a Socratic world, just giving up on reading doesn't immediately put us into a Socratic world, let's put it that way. And for one thing, I think that there really is a difference between face-to-face interaction, on the one hand, where let's even include Zoom, okay, or phone as face-to-face in an extended sense, and then texting, on the other hand, where text interaction, where like texting back and forth would be, fall under texting, so would social media, Twitter, et cetera, that's sort of- Email. Email, exactly. And I'm becoming more, when I first started working on this book, I thought, well, look, the thing that Socrates cares about is like, when he says that philosophy is like, you know, when he rejects written texts, and he's like, no, what I want to talk back, I'm like, well, the crucial thing is that they can respond, whether they respond by writing you something down or whether they respond by making a sound doesn't matter. And I agree that it doesn't matter whether they make a sound, like for instance, if they respond in sign language, that would be fine. But I think it matters that there is very little lag time between the responses, and you never get really short lag time in anything but what I'm calling face-to-face interaction.Henry: Right, there's always the possibility of what to forestall on text. Yeah. Whereas I can only sit here for like 10 seconds before I just have to like speak.Agnes: Exactly, and I mean, 10 seconds, that's a wild exaggeration. So do you know what the actual number is? No. On average. Okay, the average amount of time that you're allowed to wait before responding to something I say is two tenths of a second, which, it's crazy, isn't it? Which, that amount of time is not enough time for, that is a one second pause is an awkward pause, okay? So two tenths of a second is not long enough time for the signal that comes at the end of my talking, so the last sound I make, let's say, to reach your ears and then get into your brain and be processed, and then you figure out what you want to say. It's not enough time, which means you're making a prediction. That's what you're doing when I'm talking. You're making a prediction about when I'm going to stop talking, and you're so good at it that you're on almost every time. You're a little worse over Zoom. Zoom screws us up a little bit, right? But this is like what our brains are built to do. This is what we're super good at, is kind of like interacting, and I think it's really important that it be a genuine interaction. That's what I'm coming to see, is that we learn best from each other when we can interact, and it's not obvious that there are those same interaction possibilities by way of text at the moment, right? I'm not saying there couldn't be, but at the moment, we rely on the fact that we have all these channels open to us. Interestingly, it's the lag time on the phone, like if we were talking just by phone, is about the same. So we're so good at this, we don't need the visual information. That's why I said phone is also face-to-face. I think phone's okay, even though a lot of our informational stream is being cut. We're on target in terms of the quick responses, and there's some way in which what happens in that circumstance is we become a unit. We become a unit of thinking together, and if we're texting each other and each of us gets to ponder our response and all that, it becomes dissociated.Henry: So this, I do have a really, I'm really interested in this point. Your book doesn't contain scientific information, sociological studies. It's good old-fashioned philosophy, which I loved, but if you had turned it into more of a, this is the things you're telling me now, right? Oh, scientists have said this, and sociologists have said that. It could have been a different sort of book and maybe been, in some shallow way, more persuasive to more people, right? So you clearly made a choice about what you wanted to do. Talk me through why.Agnes: I think that it's maybe the answer here is less deep than you would want. I think that my book was based on the reading I was doing in order to write it, and I wasn't, at the time, asking myself the kinds of questions that scientists could answer. Coming off of the writing of it, I started to ask myself this question. So for instance, that's why I did all this reading in sociology, psychology, that's what I'm doing now is trying to learn. Why is it that we're not having philosophical conversations all the time? It's a real question for me. Why are we not having the conversations that I want us to be having? That's an empirical question, at least in part, because it's like, well, what kinds of conversations are we having? And then I have to sort of read up on that and learn about how conversation works. And it's surprising to me, like the amount of stuff we know, and that it's not what I thought. And so I'm not, maybe I'm a little bit less hostile than most philosophers, just as I'm less hostile to fiction, but I'm also less hostile to sort of empirical work. I mean, there's plenty of philosophers who are very open to the very specific kind of empirical work that is the overlap with their specialization. But for me, it's more like, well, depending on what question I ask, there's just like, who is ready with answers to the question? And I will like, you know, kind of like a mercenary, I will go to those people. And I mean, one thing I was surprised to learn, I'm very interested in conversation and in how it works and in what are the goals of conversation. And of course I started with philosophical stuff on it, you know, Grice and Searle, speech act theory, et cetera. And what I found is that that literature does not even realize that it's not about conversation. I mean, Grice, like the theory of conversational implicature and you know, Grice's logic on conversation, it's like if you thought that making a public service announcement was a kind of conversation, then it would be a theory of conversation. But the way that philosophers fundamentally understand speech is that like, you know, speakers issue utterances and then somebody has to interpret that utterance. The fact that that second person gets to talk too is not like part of the picture. It's not essential to the picture. But if you ask a sociologist, what is the smallest unit of conversation? They are not going to say an assertion. They're going to say something like greeting, greeting or question answer or command obeying or, right? Conversation is like, there's two people who get to talk, not just one person. That seems like the most obvious thing, but it's not really represented in the philosophical literature. So I'm like, okay, I guess I got to say goodbye philosophers. Let me go to the people who are actually talking about conversation. You know, I of course then read, my immediate thought was to read in psychology, which I did. Psychology is a bit shallow. They just don't get to theorize. It's very accessible. It's got lots of data, but it's kind of shallow. And then I'm like, okay, the people who really are grappling with the kind of deep structure of conversation are sociologists. And so that's what I've been reading a lot of in the past, like whatever, two months or so. But I just wasn't asking myself these questions when I wrote the book. And I think the kinds of questions that I was asking were in fact, the kinds of questions that get answered or at least get addressed in philosophical texts. And so those were the texts that I refer to.Henry: So all the sociology you've read, is it, how is it changing what you think about this? Is it giving you some kind of answer?Agnes: It's not changing any, my view, but any of the claims in the book, that is the exact reason that you brought out. But it is making me, it's making me realize how little I understand in a sort of concrete way, what like our modern predicament is. That is, where are we right now? Like what's happening right now? Is the question I ask myself. And I get a lot of, especially in interviews about this book, I get a lot of like, well, given where things are right now, is Socrates very timely? Or how can Socrates help or whatever? And I'm like, I don't think we know where things are right now. That is that given that, where is it? Where is it that we are? And so part of what this kind of sociology stuff is making me realize is like, that's a much harder question than it appears. And even where do we draw the lines? Like, when did now start happening? Like my instinct is like, one answer is like around 1900 is when now started happening. And, and so like, so I guess I'm interested both at the very micro level, how does the conversational interaction work? What are the ways in which I am deciding in this very conversation, I'm deciding what's allowed to be in and what's not allowed to be in the conversation, right? By the moves I'm making, and you're doing the same. How are we doing that? How are we orchestrating, manipulating this conversation so as to dictate what's in it and what's out of it in ways that are like below the surface that we're not noticing, that we either that we are doing it or that we're doing it ourselves. Neither of us is noticing, but we're doing that. So that's at the micro level. And then at the macro level is the question about when did now start happening? And what are the big shifts in like the human experience? And, are we at a point somehow in human history where culture like as a mechanism of coordination is a little bit falling apart and then what's going to come next? That's like a kind of question that I have to put in that kind of vague way. So maybe the right thing to say is that reading all these sociology texts has like, has given me a sets of questions to ask. And maybe what I'm trying to do is, it's like, what my book does is it describes a kind of ideal. And it describes that ideal, you know, using the power of reason to see what would it take to sort of set us straight? What is the straightened version of the crooked thing that we're already doing? And I think that that's right, but that's not at all the same thing as asking the question like, what's our next step? How do we get there from here? That's the question I'm asking now. But part of trying to answer the question, how do we get there from here is like, where are we now? And where are we both very, very locally in an interaction, what are we doing? And then in a big picture way, where are we? What is the big, what is like, you know, in the Taylor Swift sense, what era are we in? And, you know, I guess I still feel like we are, we are living in the world of Fernando Pessoa, Robert Musso, Virginia Woolf, James Joyce, Hermann Bruch, Franz Kafka, like that set of writers, like around 1900-ish set of writers who didn't all know each other or anything, didn't coordinate, but they all, there was this like primal scream moment where they were like, what the hell is going on? What has happened to humanity? Where are the rules? Like, who are we supposed to be? I mean, of all of those, I would pull out Musso as like the paradigm example. So this is me, I guess, taking inspiration from literature again, where I feel like, okay, there's something there about we're lost. There's an expression of, there's a thought we're lost. And I'm trying to understand, okay, how did we get lost? And are we still in that state of being lost? I think yes. And let's get a clear, once we get very clear on how lost we are, we'll already start to be found. Cause that's sort of what it is to, you know, once you understand why you're lost, like that's situating yourself.Henry: Those writers are a long time ago.Agnes: Yeah, I said around 1900.Henry: Yeah, but you don't, you don't, but there's nothing more recent that like expresses, like that's a very long now.Agnes: Yeah. Well, yes, I agree. So I say, when did now start happening? I think it started happening around 1900. So I think-Henry: So are we stuck?Agnes: Yeah, kind of. I think, so here's like a very, he's like a very simple part of history that must be too simple because history is not, is like, it's very mildly not my strong suit. I can't really understand history. But it's like, there is this set of writers and they don't really tell stories. It's not their thing, right? They're not into plot, but they are issuing this warning or proclamation or crisis, like flashing thing. And then what happens? What happens after that? Well, World War I happens, right? And then, you know, not very long after that, we got World War II and especially World War II, the result of that is kind of, oh no, actually we know what good and bad are. It's like fighting Nazis, that's bad. And, you know, so we got it all settled. And, but it's like, it's like we push something under the rug, I guess. And I think we haven't dealt with it. We haven't dealt with this crisis moment. And so, you know, I think I could say something very similar about Knausgaard or something that is, I think he's kind of saying the same thing and his novel has a novel, whatever you want to call it, the, you know, I'm talking about the later one. That's the kind of weird sort of horror quadrilogy or something. It has this feeling of like trying to express a sense of being lost. So there's more recent stuff that, a lot of it's autofiction, the genre of autofiction has that same character. So yeah, like maybe there is some big progress that's been made since then, but if there is, then it has passed me by.Henry: Agnes: Callard, thank you very much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Marvel's Star Wars: Jedi Knights debuts and it's a case where the hype wasn't wrong. The series captures the Jedi Order before the events of the prequel trilogy, sporting a case of familiar faces, some new ones and a fair amount of intrigue. It's a superb debut and is going to be a fun read month in and month out.Dark Horse's long delayed first Hyperspace Stories: Qui-Gon original graphic novel has arrived and the creative team has weaved a truly unique story that melds flashbacks, callbacks to The High Republic, certain myths and fables as well as space-borne suspense in a story that builds upon the Qui-Gon Jinn lore and features Obi-Wan Kenobi and Count Dooku, too.And after the comics discussion, stay on for a new segment that we're trying out. We think you'll like it.Comics Discussed This Week:Hyperspace Stories: Qui-GonJedi Knights #1Star Wars Comics New to Marvel Unlimited This Week:Star Wars: The Battle of Jakku -- Republic Under Seige #2 (of 4)News: Amid a wider cancellation of second printings by Marvel, Legacy of Vader #1 was among those scuppered.Marvel's Star Wars: Kanan Modern Era Epic Collection: The Last Padawan, collecting the absolutely superb 12-issue max-series, is slated for release on Aug. 26.Several new cover reveals for upcoming comics can be found the Facebook page and Bluesky feed.We're still expecting an announcement about the new Doctor Aphra series any day now.Upcoming Star Wars comics, graphic novels and omnibuses:March 12 _ Legacy of Vader #2March 18 _ Star Wars Legends: The Old Republic Omnibus Vol. 1 (New Printing) (Collects Star Wars: Knights of the Old Republic (2006) 1-50, Star Wars: Knights of the Old Republic - War (2012) 1-5, Star Wars: Knights of the Old Republic Handbook (2007) 1, material from Star Wars: Knights of the Old Republic/Rebellion (2006) 0)March 19 _ Legacy of Vader #1 (2nd Printing), The High Republic Adventures Phase III #16March 25 _ Star Wars: Inquisitors TPB (Collects 1-4)March 26 _ The High Republic -- Fear of the Jedi #2 (of 5), The Rise of Skywalker adaptation #2 (of 5), The Bad Batch — Ghost Agents #2 (of 5)April 8 _ The High Republic: Edge of Balance: PremonitionApril 9 _ Star Wars (1977) #1 Facsimile Edition (New Printing), Jedi Knights #2April 16 _ The High Republic Adventures Phase III #17, Legacy of Vader #3April 22 _ The High Republic -- Edge of Balance (Vol. 4), Echoes of Fear TPB (Collects 1-4)April 23 _ Codebreaker #1 (of 5)April 29 _ Star Wars: Ahsoka — Season One TPB (Collects 1-8), Crash Zone TPB (Collects Crash Landing, Crash and Burn and the 2025 The High Republic Adventures Phase III Annual), Crimson Reign Omnibus (Collects 1-5, Star Wars 19-25, Bounty Hunters 18-24, Darth Vader 18-24 and Doctor Aphra 16-21)April 30 _ The High Republic Adventures Phase III -- The Battle of Eriadu One-Shot, The Bad Batch -- Ghost Agents #3 (of 5), The High Republic -- Fear of the Jedi #3 (of 5), The Rise of Skywalker Adaptation #3 (of 5)May 3 _ Star Wars Free Comic Book Day #1, Star Wars: Young Jedi Adventures Free Comic Book Day #1May 6 _ Darth Maul: Black, White & Red Treasury Editions (Collects 1-4)May 7 _ Star Wars (Vol. IV) #1May 14 _ The High Republic Adventures Phase III #18, Jedi Knights #3May 20 _ The High Republic Adventures Phase III Vol. 3 TPB (Collects 11-13, Wedding Spectacular One-Shot)May 21 _Legacy of Vader #4, The High Republic — Fear of the Jedi #4 (of 5)May 28 _ The Bad Batch -- Ghost Agents #4 (of 5), The Rise of Skywalker Adaptation #4 (of 5)June 3_ The Battle of Jakku TPB (Collects Insurgency Rising 1-4,  Republic Under Seige 1-4, Last Stand 1-4)June 4 _ Codebreaker #2 (of 5)June 11 _ The High Republic Adventures Phase III #19June 17 _ Star Wars Legends: The Rebellion Omnibus Vol. 3 (Collects Star Wars: Shadow Stalker (1997) 1, Star Wars: Rebel Heist (2014) 1-4, Star Wars: A Valentine Story (2003) 1, Classic Star Wars: The Empire Strikes Back (1994) 1-2, Star Wars: Shadows of the Empire (1996) 1-6, Star Wars: Shadows of the Empire Mini-comic (1996) 1-2, Star Wars: Tales From Mos Eisley (1996) 1, Star Wars: The Bounty Hunters – Scoundrel's Wages (1999) 1, Classic Star Wars: Return of the Jedi (1994) 1-2, Star Wars: Tag & Bink Are Dead (2001) 2, Star Wars: Tag & Bink II (2006) 1, Sergio Aragones Stomps Star Wars (2000) 1, Star Wars Infinities: The Empire Strikes Back (2002) 1-4, Star Wars Infinities: Return of the Jedi (2003) 1-4; material from Star Wars Kids (1997) 12; Star Wars Visionaries (2005); Star Wars Tales (1999) 2, 4-8, 10, 12, 15-17, 20)June 24 _ Star Wars Modern Era Epic Collection: Yoda's Secret War (Collects Star Wars 15-30, Annual 1-2); Dispatches From the Occlusion Zone TPB (Collects 1-4)June 25 _ The High Republic Adventures Phase III #20, The Bad Batch -- Ghost Agents #5 (of 5)July 2 _ Jedi Knights #5July 8 _ Ewoks TPB (Collects 1-4)July 22 _ Star Wars Modern Era Epic Collection: Yoda's War (Collects Star Wars 15-30, Annual 1, 2), The High Republic Adventures Phase III TPB Vol. 4 (Collects 14-16, Battle of Eriadu one-shot)Aug. 5 _ Star Wars: Visions Treasury Edition (Collects Visions: Peach Momoko, Visions: Takeshi Okazaki and material from Darth Vader: Black, White & Red #1)Aug. 6 _ Jedi Knights #6Aug. 26 _ Star Wars: Kanan Modern Era Epic Collection (Collects 1-12)Sept. 9 _ Jedi Knights #7Oct. 7 _ Legacy of Vader Vol. 1 TPB (Collects 1-6)Oct. 21 _ The Rise of Skywalker Adaptation TPB (Collects 1-5)Oct. 28 _ The High Republic Adventures Phase III Vol. 5 TPB (Collects 17-20), Hyperspace Stories: The Bad Batch - Ghost Agents TPB (Collects 1-5)Nov. 4 _ Jedi Knights Vol. 1 TPB (Collects 1-5)

All credit for these stories goes to Riot Games, League of Legends, and their respective authors. The original text can be found at:https://universe.leagueoflegends.com/en_US/story/shackles-of-belief/Written by Anthony ReynoldsMusic Attributions:Sylas, The Unshackled (From League of Legends: Season 9)The Imprisoned by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryA Stealthy Approach by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryCoastal Clues by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryThe Armory by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryThe Calm Before A Storming by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryConfrontation and the Ice Salamander by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryThe Gravedigger by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryDeeper in the Deep Forest by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryDiscomfort and Disquiet by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryForests, Mountains, and a Shelter by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryTogether Stronger by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryFrenzy, Fury, and Freedom by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryMagic is EveryWhere, Magic is Rising by Gareth Coker, Riot ForgeThe Mageseeker: A League of Legends StoryOver 55 sound effects were used in the production of this audio drama! These were gathered from https://freesound.org. A full list of attributions can be found here: https://pastebin.com/raw/zDQw0xiFMore stories coming soon!

Em junho de 2024, no Teatro São Luiz, Patrícia Reis interveio no programa literário DISQUIET a propósito da sua biografia de Maria Teresa Horta, "A Desobediente". O Disquiet é uma organização do CNC e da editora independente norte-americana Dzanc Books que, desde 2011, traz a Lisboa escritores norte-americanos promovendo encontros com autores lusófonos.

This week on the podcast Anne O'Donoghue discusses the commitments for farming in the programme for government as well as the new ministers for agriculture, Noel Bardon looks at new rules for farmers on peatlands and wetlands and updates us on the outbreak of foot-and-mouth disease in Germany last week. We also hear from both sides of the Dairygold debacle – farmers voice their opinion and Dairygold's CEO Michael Harte gives his side of the story. Hosted on Acast. See acast.com/privacy for more information.

Lets talk about it.

This podcast episode is part of Afar, A Retrospective. As part of Afar's 15-year anniversary celebration, this episode from our sister podcast, Travel Tales by Afar, was selected as one of our favorites. We hope you enjoy it as much as we do—and stay tuned for more archival Travel Tales episodes from September - December 2024. Explore more of our favorite stories over the years at afar.com/fifteen. Two months after her house burned down, Afar sent the award-winning author of Miss Burma, Charmaine Craig, to Lisbon, Portugal, with 24 hours' notice. Without a plan, Charmaine aimlessly follows tourists through cobbled streets before stumbling upon the grave of one of the country's most beloved authors: Fernando Pessoa. Following in his footprints, her trip transforms into a poetic journey through loss, impermanence, and hope.  Portugal's Elusive Poet: Fernando Pessoa In this episode discover:  The world's oldest bookstore, Livraria Bertrand.   How Portugals' streets recovered after fire and earthquakes.  Where to follow Francis Pessoa's legacy in Lisbon.  Twin Flames, Twin Houses Don't miss these transformative moments:  [01:39] Lost history and landing in Lisbon.  [05:02] Meeting Francis Pessoa: a master poet of impermanence.  [08:00] Echoes of destruction, from L.A. to Lisbon.  A Literary Adventure in Lisbon The only book Charmaine Craig brought to Lisbon was The Book of Disquiet by Francis Pessoa. Though she knew the author lived in Lisbon,Charmaine didn't expect to stumble upon his tomb in her first 24 hours. In this episode, an unplanned trip to Portugal becomes a deeply personal, poetic tour through grief, impermanence, and hope.  Resources:  Read Charmaine's original story.  Visit Charmaine's website and buy her books, Miss Burma and My Nemesis. Plan a trip to Lisbon with Afar with content like the best things to do and see or these guides to the perfect day or weekend.

Israel's Disquiet

Pastor Zac and Pastor John discuss how events like hurricanes affect sermon preparation and pastoral ministry, and they discuss the final week in the "disQUIET" series.

Pastor Zac and Pastor John talk about the different sources of anxiety and stress, and they breakdown this week's message from the "disQUIET" series.

Pastor Zac talks with Pastor John about the overall impact of the disQUIET series, and they break down their messages on Peter's restoration. Top of Show - 00:35 Messages of the Week - 19:17 For Group and Devotional Study - 40:45

Pastor John and Pastor Zac discuss how they create the close of their sermons, and they open up about Saul, David, and the varying ways we feel anxiety from this week's messages in our "disQUIET" series. Top of Show - 00:44 Messages of the week - 21:09 For Group and Devotional Study - 1:00:51

Pastor Zac and Pastor John break down Moses' early rejection of God's call and what we can learn about grace and comfort in our anxiety about "what comes next." Part of FPC's "disQUIET" series. Discussion on Coordinating Service Times - 00:50 This Week's Message - 18:15 For Personal and Group Devotion - 46:36 Also, a video version of this conversation will be available at YouTube.com/fpclakeland

Pastor John and Pastor Zac break down the story of Elijah's anxiety and God's intervention in the first sermon of the "disQUIET" series. Time stamps for today. Big Picture Conversation, 00:45 This Week's Messages, 21:18 For Groups and Devotions, 44:45

Maria de Caldas Antão speaks to managing editor Emily Everett about her poem “ My Freedom,” which appears in The Common's most recent issue. Maria talks about how a casual comment inspired this poem, which explores the idea of freedom, and what it might mean to be free: personally, politically, physically, philosophically. Maria also discusses how she hears a sort of music when writing new poetry, and then chooses words, sounds, rhythms, and line breaks to put that musicality on the page. Maria de Caldas Antão lives in Lisbon, Portugal. She holds an MA in philosophy, politics, and economics from Oxford University, and a degree in acting from Mountview Academy in London. She has participated in the Bread Loaf Writers' Conference and received fellowships to attend the SLS and DISQUIET literary programs. She also has a translation from the Portuguese of a poem by Alberto de Lacerda forthcoming in The Common. ­­Read Maria's poem “My Freedom” in The Common at thecommononline.org/my-freedom. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel All That Life Can Afford is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Maria de Caldas Antão speaks to managing editor Emily Everett about her poem “ My Freedom,” which appears in The Common's most recent issue. Maria talks about how a casual comment inspired this poem, which explores the idea of freedom, and what it might mean to be free: personally, politically, physically, philosophically. Maria also discusses how she hears a sort of music when writing new poetry, and then chooses words, sounds, rhythms, and line breaks to put that musicality on the page. Maria de Caldas Antão lives in Lisbon, Portugal. She holds an MA in philosophy, politics, and economics from Oxford University, and a degree in acting from Mountview Academy in London. She has participated in the Bread Loaf Writers' Conference and received fellowships to attend the SLS and DISQUIET literary programs. She also has a translation from the Portuguese of a poem by Alberto de Lacerda forthcoming in The Common. ­­Read Maria's poem “My Freedom” in The Common at thecommononline.org/my-freedom. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel All That Life Can Afford is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Maria de Caldas Antão speaks to managing editor Emily Everett about her poem “ My Freedom,” which appears in The Common's most recent issue. Maria talks about how a casual comment inspired this poem, which explores the idea of freedom, and what it might mean to be free: personally, politically, physically, philosophically. Maria also discusses how she hears a sort of music when writing new poetry, and then chooses words, sounds, rhythms, and line breaks to put that musicality on the page. Maria de Caldas Antão lives in Lisbon, Portugal. She holds an MA in philosophy, politics, and economics from Oxford University, and a degree in acting from Mountview Academy in London. She has participated in the Bread Loaf Writers' Conference and received fellowships to attend the SLS and DISQUIET literary programs. She also has a translation from the Portuguese of a poem by Alberto de Lacerda forthcoming in The Common. ­­Read Maria's poem “My Freedom” in The Common at thecommononline.org/my-freedom. The Common is a print and online literary magazine publishing stories, essays, and poems that deepen our collective sense of place. On our podcast and in our pages, The Common features established and emerging writers from around the world. Read more and subscribe to the magazine at thecommononline.org, and follow us on Twitter @CommonMag. Emily Everett is managing editor of the magazine and host of the podcast. Her debut novel All That Life Can Afford is forthcoming from Putnam Books. Her stories appear in the Kenyon Review, Electric Literature, Tin House Online, and Mississippi Review. She was a 2022 Massachusetts Cultural Council Fellow in Fiction. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 186 was recorded June 13, 2024. Published June 25, 2024 Once in a while, you come across a name you know you want to remember and Réka Shikli is one to keep an eye on.  She began writing and making films at an early age with her parents camera and evolved into writing, producing and directing films. A unique story how seeking a film grant brought her family together through a smartphone and storytelling.  Never judge a filmmaker by the length of a film shot with a smartphone and never underestimate the filmmakers you meet in San Diego at the International Mobile Film Festival.  Listen to this in-depth conversation with Reka Shikli from Canada, talking to us from Hungary.  Disquiet was shot on iPhone 11. Director, writer, editor &  producer: Réka Shikli; Cinematographer: Kinga Shikli; Cast: Sofi Shikli, Laszlo Shikli; Composer: Frank Dormani Mentioned in this episode:  Disquiet Movie Trailer: https://vimeo.com/918944065  Reka Shikli: Instagram: https://www.instagram.com/rekashikli/  IMDb: https://www.imdb.com/name/nm12958441/  Website: https://rekashikli.github.io/ SBP Podcast Mobile Filmmaking: The Voice of Mobile Film™ is for everyone who ever wanted to or is curious about making movies and videos using smartphones.  Are you enjoying our free podcast? Share some love.  BuyMeACoffee: https://www.buymeacoffee.com/susybotello  Patreon: https://www.patreon.com/sbppodcast  Sign up for our Podcast Newsletter: http://eepurl.com/iwK-dM Subscribe to listen in your own app: https://www.podbean.com/site/podcatcher/index/blog/kOpp1Xtzvu6l  Our Links:  SBP Podcast Website: http://sbppodcast.studio  Smartphone Filmmaking Publication: https://medium.com/smartphonefilmmaking    Susy's Substack: https://susybotello.substack.com  Podcast Twitter: http://twitter.com/sbppodcast    Facebook: http://facebook.com/sbppodcast       Instagram: https://www.instagram.com/mobilefilmsd/  Susy on Threads: https://www.threads.net/@susybotelloofficial  Susy on Twitter: http://twitter.com/susybotello  Susy on Instagram: https://www.instagram.com/susybotelloofficial/  Apple Podcasts: https://itunes.apple.com/us/podcast/sbp-podcast/id1296673665  © 2024 S. Botello Productions. All rights reserved.

I've been wondering for some time now how to "complete" this initial (incomplete) foray into therapy, AI, and creative tomfoolery. I started this project with a reflection on soulmate-hood, and the delusive force of projecting that onto another who doesn't share our personality style or core instincts/interpersonal values. Recently, making some videos for another project (Living The Book of Disquiet), I recorded and also filmed a few more discussions with GPT4-o in a bid to understand a koan from Enneagram Four Fernando Pessoa: "who is the father of my soul?". I think this might work as a kind of bookend piece for The AI Therapist. Thanks for listening/watching! --- Send in a voice message: https://podcasters.spotify.com/pod/show/wevehadonehundredyears/message

Dana provides us with some reflections and meditations on this season of ODA so far, inspired by some of the discussion around Asian joy in the last episode with Mihiri Tillakaratne and Noel Alumit. She talks about Asian American versus Asian Diaspora being claimed by some of our conversation partners on the podcast. Dana also talks about a colleague Gary Okihiro, who passed away on May 20th, and his deep impact on expanding the field of Asian American studies to go beyond solely the history of oppressed minorities. Co-Host: Reverend Dana TakagiDana (she/her) is a retired professor of Sociology and also a zen priest. She spent 33 years teaching sociology and Asian Am history at UC Santa Cruz, she is a past president of the Association for Asian American Studies.  Zen practice since 1998. Check out more of Dana's work:2022: Sutra and Bible: an Interview with Duncan Ryūken Williams2020: Most Intimate, Ordinary Way, Recollections of Katherine Thanas  (co-eds. with Eugene Bush; 2nd printing 2022)

Jupiter begins its year-long transit through Gemini on May 25, 2024, so we turned it into a Serendipity Session! We riff on a specific yet understated theme that Jupiter in Gemini is likely to expose: the need to transcend opposing forces. The world is seen through a binary lens in many ways. Gemini will highlight the contradictions, juxtapositions, dichotomies, contrast, and duality that's present in so many aspects of our lives. But Jupiter has an ability to create a mystical union when faced with opposites. Resources mentioned in this episode include: Doppelgänger by Naomi KleinThe Book of Disquiet by Fernando PessoaDialectical Materialism*******************************About The Serendipity Sessions:We began The Serendipity Sessions as a series in the Clairannoyance podcast so we could have real-time unscripted conversations. Unlike our subject-specific deep dives and guest interview episodes, The Serendipity Sessions is a raw reflection of the genuine bond we share. We have no rules and no episode notes in advance, just a free-flowing exchange of thoughts and emotions. It's an exploration of the outer banks of consciousness where untamed treasures are hidden away. We believe one sudden insight can hold immense value, far beyond most meticulously planned discussions. Each session is a unique encounter with chance as we defy routine and enjoy a spontaneous dance with spirituality. We aim to keep these episodes as evergreen as possible, so you can find your way here whenever you need to. And hopefully, you'll encounter pieces of yourself every time you join us.*******************************P.S. Rate us 5 stars please and leave us a review! It helps so much!*******************************Podcast & Host Resources:Clairannoyance InstagramClairannoyance TikTokClairannoyance WebsiteMegan's InstagramMegan's TikTokMegan's WebsiteRyan's InstagramRyan's TikTokRyan's Website

Christopher Ruocchio discusses book six in the best-selling Sun Eater series, Disquiet Gods; and Tinker by Wen Spencer, Part 46. View the podcast in video form at https://www.baen.com/podcastfiles/mp3/video-baen-free-radio-hour-Disquiet-Gods-Tinker-Part-46.mp4 and the Baen YouTube Channel.

NEW Co-Host: Reverend Dana TakagiDana (she/her) is a retired professor of Sociology and also a zen priest. She spent 33 years teaching sociology and Asian Am history at UC Santa Cruz, she is a past president of the Association for Asian American Studies.  Zen practice since 1998. Check out more of Dana's work:2022: Sutra and Bible: an Interview with Duncan Ryūken Williams2020: Most Intimate, Ordinary Way, Recollections of Katherine Thanas  (co-eds. with Eugene Bush; 2nd printing 2022)Mentioned in the episode, her 1993 book on affirmative action: "The Retreat from Race: Asian American Admissions and Racial Politics"https://danatakagizenlife.squarespace.com/Season 3 description:This season, we will have a new focus: Uplifting and Forwarding Asian American/Asian Diasporic Buddhist Experiences in the West.With our guests and audience, we will explore the specificities of Asian American/Asian Diasporic experiences.  We take as given that there are generational differences (hence the historical moment matters!) and we hope to also delve into Asian family norms and values, our inchoate understanding of ancestor worship, issues of identity, representation, stereotypes about sexuality and sexual identity,  and Asian American depression.   A theme we'll be using to help guide our conversations is The Disquiet - a term we are adapting from writer/poet Fernando Pessoa (The Book of Disquiet) - which in our view signals a complex recognition of self, mind, and body.  The evidence for the foregoing includes scholarly research indexed in aggregate statistics on depression, youth suicide, and other issues in immigrant or first-generation families. While Asian Americans are not alone in experiencing trauma, the racial languages and discourses of othering are different for us than for other groups.    What do we hope is the outcome of this podcast?  Our first aim is to give voice to the range and depth of Buddhism in Asian and Asian American generations.  We hope that in doing so, we help to shine a light on the limited or myopic envisioning of race in primarily white sanghas. Asian and Asian American diasporic truths about practice are a teaching for contemporary dharma organizations and centers. We recognize the depth and range of Asian and Asian Diasporic Buddhists is a wisdom mirror for organized Buddhism in the West.  Co-Host: REV. LIÊN SHUTT (she/they) is a recognized leader in the movement that breaks through the wall of American white-centered convert Buddhism to welcome people of all backgrounds into a contemporary, engaged Buddhism. As an ordained Zen priest, licensed social worker, and longtime educator/teacher of Buddhism, Shutt represents new leadership at the nexus of spirituality and social justice, offering a special warm welcome to Asian Americans, all BIPOC, LGBTQIA+, immigrants, and those seeking a “home” in the midst of North American society's reckoning around racism, sexism, homophobia, and xenophobia. Shutt is a founder of Access to Zen (2014). You can learn more about her work at AccessToZen.org. Her new book, Home is Here: Practicing Antiracism with the Engaged Eightfold Path. See all her offerings at EVENTSReach out to us at:   info.access2zen@gmail.com

Kat Walsh from Creative Commons joins us to talk about the history of Creative Commons as a 'hack on copyright.' Marc Weidenbaum speaks on the history of the Disquiet Junto, a long-running online distributed community creating new music in response to a weekly online composition challenge. Episode notes, credits and transcript In this season of the podcast we're working in collaboration with the Engelberg Center on Innovation Law and Policy at NYU Law. In addition to our usual crop of artists and programmers we're adding in legal scholars to help us unpack some of the thorny issues for those working in art and code as they unleash their work into the world. In this episode we dive into the world of Creative Commons, which is now over 20 years old. It is both an organization as well as a collection of copyright licenses used by artists, musicians, writers, directors and creators worldwide to communicate to the world how they want their work shared and potentially to be used as a source to build upon. We also speak to Marc Weidenbaum, founder and steward of the Disquiet Junto, an online “community of practice.” Each week Marc sends out an email newsletter with a creative prompt, consisting of a title, and instructions. These instructions may read like a Fluxus event score, a recipe in sound, a concept or technical description. Those who choose to participate create a single piece of music, then post it online, to be shared, listened to and potentially discussed by the online community. Marc has been leading Disquiet Junto since 2012, and from the beginning has encouraged participants to share their work with Creative Commons licenses. In fact the creative re-use of Creative Commons licensed sound and music has often been an integral part of Disquiet Junto creative prompts. Guests Kat Walsh is the General Counsel at Creative Commons. She has a nearly 20-year history in the free and open culture movements, including many years on the boards of the Wikimedia Foundation and the Free Software Foundation, and has previously worked in library policy, technology startups, and online community management. As General Counsel, she oversees the legal support for all aspects of CC's activities, provides strategic input, leads the stewardship of CC's legal tools, and advises the organization on new programmatic initiatives. image description: a black and white image of Marc looking to the right. He has dark hair and a close cropped beard, wearing a high collared knit sweater and black frame glasses. Marc Weidenbaum founded the website Disquiet.com in 1996 at the intersection of sound, art, and technology, and since 2012 has moderated the Disquiet Junto, an active online community of weekly music/sonic projects that explore constraints as a springboard for creativity and productivity. Links Creative Commons Licenses and Tools Creative Commons talks with Marc Weidenbaum Email announcement list for the Disquiet Junto Marc's website Disquiet, on the intersection of sound, art and technology Credits Our audio production is by Max Ludlow. Design by Caleb Stone. Our music on today's episode is all taken from Creative Commons licensed music created as part of the Disquiet Junto. all at fives, sixes and sevens by wasabicube, CC BY NC SA. three euclidean rhythms, CC BY NC SA, by Lee Evans/Hippies Wearing Muzzles, both from disquiet0567 Three Meters. Ways, CC BY NC SA, by the artist analoc for disquiet0482 Exactly That Gap. Little Green Aura, CC BY NC SA, by he_nu_ri and lako by Ohm Research, for disquiet0566 Outdoor Furniture Music four voice folly by caustic_gates, CC BY NC SA, part of disquiet0565 Musical Folly much too young to…, CC BY, by NolanVerde for disquiet0066 Communing with Nofi, a posthumous collaboration with the artist Jeffrey Melton, aka Nofi, who passed in 2013. This episode is licensed under CC BY-NC-SA 4.0

In what is meant to be his quiet and reflective corridor of retirement, my guest today, Abhijit Sengupta grapples with a disquiet that lingers. A former senior IAS officer and therefore, you might say, a custodian of order and democracy, a lifetime of service to the nation has clearly left him with a profound sense of duty that refuses to retire with him.Abhijit's expression of angst—a visceral response to the erosion of the democratic foundations that he cherished—has resulted in his latest book, The Queen of All Nations. A response to what he sees as the foundations of democracy that are being visibly eroded with every headline and each policy shift, serving up yet another dissonant note in a score he thought he knew by heart.It is understandably difficult for anyone to come to grips with the realisation that the ideals he held dear are slipping through the cracks of a society in a time of ideological polarisation.So, amidst all this angst, Abhijit Sengupta becomes a reluctant activist in this shifting landscape of incipient fascism and rising fundamentalism. But he channels his efforts not as a lament for a bygone era but as something of a rallying cry for the return of ideals. With the optimism that the spirit of a plural, democratic society can endure if those who believe in it refuse to be silent witnesses to its demise.The Queen of All Nations is more than a historical narrative. It's a call for greater awareness of history and what got us here. It is a poignant reflection on the anguish of this intellectual in a world grappling with political turmoil.And, as a comfortable read, the book serves as a lighthouse for readers of the younger generation whom he takes on a sweeping journey through the annals of modern India, delving into the intricate political landscape, social upheavals, and cultural transformations that have shaped the nation's identity.To discuss his book, his ethic and his state of mind, he joins from his home in Bangalore, a city we share.Buy The Queen Of All Nations: https://amzn.to/3sDCh09 Buy A to Z: https://amzn.to/49QmM5F Read Ramjee Chandran's review of A to Z: https://bit.ly/3T0JWQSABOUT ABHIJIT SENGUPTAAbhijit Sengupta joined the Indian Administrative Service in 1972 and retired in 2008  as Secretary, Ministry of Culture, Government of India. He has Master's degrees in Public Administration from Carleton University, Ottawa, Canada, and in English Literature from Delhi University. He received the prestigious Pearson fellowship of the IDRC, Canada in 1984-85 to study Public Administration.WHAT'S THAT WORD?!Co-host Pranati "Pea" Madhav joins Ramjee Chandran in the fun etymology segment, "WHAT'S THAT WORD?!" where they discuss the "FULL STOP."CONTACT USReach us by mail: theliterarycity@explocity.com or simply, tlc@explocity.comOr here: https://www.facebook.com/groups/theliterarycityOr here: https://www.instagram.com/explocityblr/Music by Sergii Pavkin from Pixabay

Winner of Pulitzer and Nobel prizes, the late Toni Morrison was one of the all-time great American novelists. For the inaugural Rolex Mentor and Protégé Arts Initiative, she was paired with Australian writer Julia Leigh, who was busy writing her second novel, Disquiet. Hear Kerry Fox read an extract from that book in the latest episode of A Word in Your Ear.See omnystudio.com/listener for privacy information.

In this Bible Story, God parts the seas so the Israelites could run to freedom. God then provides Israel with water and food as they travel towards the promised land. This story is inspired by Exodus 14:29-16:36. Go to BibleinaYear.com and learn the Bible in a Year.Today's Bible verse is Exodus 14:29 from the King James Version.Episode 38: In Israel's exodus from the land of Egypt, after 430 years of slavery, they headed joyfully to the wilderness, and the land God will call them to. But as they came to camp by the sea, Pharaoh and his army changed their mind and pursued them. Trapped between an approaching army and the sea the people fear for their lives, but through Moses, God provides His people a miraculous means of escape and a final victory over the Egyptians once and for all.Hear the Bible come to life as Pastor Jack Graham leads you through the official BibleinaYear.com podcast. This Biblical Audio Experience will help you master wisdom from the world's greatest book. In each episode, you will learn to apply Biblical principles to everyday life. Now understanding the Bible is easier than ever before; enjoy a cinematic audio experience full of inspirational storytelling, orchestral music, and profound commentary from world-renowned Pastor Jack Graham.Also, you can download the Pray.com app for more Christian content, including, Daily Prayers, Inspirational Testimonies, and Bedtime Bible Stories.Visit JackGraham.org for more resources on how to tap into God's power for successful Christian living.This episode is sponsored by Medi-Share, an innovative health care solution for Christians to save money without sacrificing quality.Pray.com is the digital destination of faith. With over 5,000 daily prayers, meditations, bedtime stories, and cinematic stories inspired by the Bible, the Pray.com app has everything you need to keep your focus on the Lord. Make Prayer a priority and download the #1 App for Prayer and Sleep today in the Apple app store or Google Play store.Executive Producers: Steve Gatena & Max BardProducer: Ben GammonHosted by: Pastor Jack GrahamMusic by: Andrew Morgan SmithBible Story narration by: Todd HaberkornSee omnystudio.com/listener for privacy information.

In today's fragment of Disquiet, Fernando describes waking to a rain-cleansed Sunday, unveiling blue skies—a lovely morning that evokes melancholy as well as joy. He wanders aimlessly, the various Sunday rituals accentuating his isolation and longing. In my response to Rob and Pessoa, I relate how an unexpected encounter with a doppelgänger of a past love, Nadia, during a walk near Amersham evokes deep nostalgia. The shifting weather mirrors these emotions, and this Rilke poem further underscores the transient nature of relationships and time. Many thanks to Rob for providing the reading for this episode, along with his insightful thoughts and music links - much appreciated. I eagerly anticipate more contributions from you please Rob. I also invite others to share their readings of fragments of their choice, accompanied by any spontaneous reflections inspired by the text. Please don't stress about delivering a flawless recording; I'll ensure it's edited for clarity and presentation. Send your Pessoan voice notes to +447804197605 (WhatsApp) or stevewasserman@gmail.com and I'll shape the next episode around your choice, as well as whatever other words you'd like to share with me and others listening to this podcast. Links: Music: Living The Book of Disquiet Playlist on Spotify Life Answers: A Complete Audiobook Reading of Sri Nisargadatta Maharajah's “I Am That” Lomakayu's reading on YouTube of "I Am That" Huberman & Conti's How To Understand & Assess Your Mental Health series (treasure trove of ideas and wisdom here, worth at least a year of therapy in each episode!) Agnes Callard & Robin Hanson's Minds Almost Meeting Raymond Carver's Late Fragment And did you get whatyou wanted from this life, even so?I did.And what did you want?To call myself beloved, to feel myselfbeloved on the earth.

In this episode I re-interrogate my reasons for creating a Book of Disquet cover-version by exploring some of the nuances between the word "desassossego" (restlessness, uneasiness, anxiety) in Portuguese and the English translation which usually renders the word as "disquiet." I also reflect a bit more, with the help of Richard Zenith's recent biography of Pessoa, on Pessoa's melancholy brand of existential unrest which acts in so many ways as a stand-in for the absurdity and tedium of modern life, making The Book of Disquiet the modernist masterpiece that it is. Pessoa self-medicated his deep-seated disquiet through writing, smoking, alcohol and coffee. Alcohol, we might say, acts as a kind of liquid heteronym in this book, medicating away the pain of "tedio" (tedium, boredom, monotony), another crucial word in the Pessoan lexicon (he uses it 131 times in his Livro do Desassossego). While taking a break from substances myself this month (cf. the most recent episode of my other podcast Cannabis Koan), the plan is to read Pessoa's Disquiet more phenomenologically for a while, inviting fellow listeners (you!) to join me by recording passages that resonate and sending them my way on WhatsApp (+447804197605), or to stevewasserman AT gmail.com. References: -"Chega de Saudade" (Jobim/Moraes) sung by João Gilberto in 1959 -Pessoa: An Experimental Life (2021) by Richard Zenith -Cyril Connolly's The Unquiet Grave -Article about The Real with regard to our daily routines -"People would rather be electrically shocked than left alone with their thoughts" (article) -Andrew Bird's "Sisyphus" -Transcript for this episode: http://stevewasserman.co.uk/living-the-book-of-disquiet-dessassogo-saudade-tedio/

Paul Rudnick is a novelist, playwright, essayist and screenwriter, whom the New York Times has called, “one of our pre-eminent humorists.” His plays have been produced both on and off Broadway and around the world, and include I HATE HAMLET, JEFFREY, THE MOST FABULOUS STORY EVER TOLD, VALHALLA, REGRETS ONLY, and THE NEW CENTURY. He has won an Obie Award, two Outer Critics Circle Awards and the John Gassner Playwrighting Award, and two of his short plays have been included in STANDING ON CEREMONY: THE GAY MARRIAGE PLAYS. His novels include SOCIAL DISEASE and I'LL TAKE IT, both from Knopf and PLAYING THE PALACE from Berkley. He's a regular contributor to The New Yorker and his articles and essays have also appeared in The New York Times, Esquire, Vogue and Vanity Fair. HarperCollins has published both Mr. Rudnick's Collected Plays and a group of essays entitled I SHUDDER. His essays have also been included in the New Yorker anthologies FIERCE PAJAMAS and DISQUIET, PLEASE.Mr. Rudnick is rumored to be quite close to Premiere magazine's film critic Libby Gelman-Waxner, whose collected columns were published by St. Martins under the title IF YOU ASK ME. Ms. Gelman-Waxner has also reviewed in the pages of Entertainment Weekly, and the column now appears every few weeks on The New Yorker website.Mr. Rudnick's screenplays include IN & OUT, SISTER ACT, the screen adaptation of JEFFREY, and ADDAMS FAMILY VALUES. His Young Adult novels, entitled GORGEOUS and IT'S ALL YOUR FAULT, have been published by Scholastic.Mr. Rudnick has appeared on the Today show, Real Time with Bill Maher, Conan O'Brien, A Prairie Home Companion, and Fresh Air, among other programs. Mr. Rudnick's new play, Guilty Pleasure, will be directed by Christopher Ashley and produced at the LaJolla Playhouse. On September 12, 2020, HBO began airing Coastal Elites, written by Mr. Rudnick, directed by Jay Roach, and starring Bette Midler, Dan Levy, Issa Rae, Sarah Paulson and Kaitlyn Dever. He's currently writing a screenplay called EX-HUSBANDS, based on an original idea by Billy Eichner, for Amazon. His new novel, FARRELL COVINGTON AND THE LIMITS OF STYLE, will be publshed in June of 2023 by Simon&Schuster From his humble beginnings growing up on his grandfather's dairy farm in New York, JOEL THURM became one of the most admired, powerful, and accomplished casting directors in Hollywood, Early on, Thurm's instincts proved beyond reproach when he recognized John Travolta as much more than a teen idol, casting him in the TV movie THE BOY IN THE PLASTIC BUBBLE. It was during his years as Vice President of Talent and Casting for both Paramount Television and NBC that he discovered the remarkable Phoenix family, from which River and Joaquin became A-list movie stars. With his insider's knowledge, irreverent style, and biting wit, Thurm tells the stories of his key involvement in such iconic movies and shows as GREASE, AIRPLANE!, THE ROCKY HORROR PICTURE SHOW, CHEERS, TAXI, THE LOVE BOAT, FANTASY ISLAND, STARSKY & HUTCH, CHARLIE'S ANGELS, THE GOLDEN GIRLS, KNIGHT RIDER, THE COSBY SHOW, HILL STREET BLUES and many, many more. SEX, DRUGS, AND PILOT SEASON is the ultimate backstage pass to the boardrooms of Manhattan and the executive suites of Hollywood where show-business history was made. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Conheçam o mistério que envolve o caso da morte de Elisa Lam e o "assombrado" Hotel Cecil. Comente sobre o episódio no https://soundcloud.com/averigueiomisterio Conte o que está achando do podcast. Envie suas críticas, sugestões e elogios para o e-mail averigueiomisterio@gmail.com ou pelas redes sociais: Instagram www.instagram.com/averigueiomisterio Twitter twitter.com/AverigueioM Facebook www.facebook.com/averigueiomisterio *Roteiro deste episódio foi elaborado por Mariana Barreto @mari.barretu Trilha: "Penumbra" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Return of Lazarus" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Drums of The Deep" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Morgana Rides" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Mystery of Sax" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Disquiet" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/ "Floating Cities" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

www.goodluckgabe.life During those hours when the landscape forms a halo around Life, and dream is simply a matter of dreaming oneself, I created, O my love, in the silence of my disquiet, this strange podcast like a series of arches opening up at the end of some abandoned venue. In order to record this, I plucked the souls from all the flowers, and out of the ephemeral moments of all the songs of all of the birds I wove eternity and stagnation. Sitting at the window of my life and forgetting that I was alive, that I existed, I began to weave shrouds in which to shroud my tedium, chaste linen cloths for the altars of my silence. And I am offering you this podcast because I know it to be both beautiful and useless. It teaches nothing, preaches nothing, arouses no emotion. It is a stream that runs into an abyss of ashes that the wind scatters and which neither fertilize nor harm – I put my whole soul into its making, but I wasn't thinking of that at the time, only of my own sad self and of you, who are no one. And because this podcast is absurd, I love it; because it is useless I want to give it to you, and because there is no point in wanting to give it to you, I give it anyway… Pray for me when you listen to it, bless me by loving it and forget it as I forget those planes and buildings and women, mere dreams I never knew how to dream.    Silent towers of my desires, may this podcast be the transforming moonlight in the night of the Ancient Mystery! River of Painful Imperfection, may this podcast be the boat set adrift on your waters and washed down to an undream-of sea. Landscape of Alienation and Abandonment, may this podcast be as much yours as your Hour, and transcend you as it does the fateful Purple Hour.   Please don't think I podcast in order to publish, or simply for the sake of podcasting or making art. I podcast as an end in itself, the ultimate refinement, the temperamentally illogical refinement, of my cultivation of states-of-soul.   Conflicted, you was. Remember, I do. Gay, I am. Your host, Geraldo Rivera, I am. Tuned into episode 62 of Geraldo's Edge Game, you are.   I jacked off to holocaust footage. I was young, maybe 8 so still shooting blanks but loved playing around to get that good feeling in my cock. One evening I could see my neighbors watching some spicy film out of my room window. The film was black and white and there were many naked people walking around and then they were in a big pile. Because of this, I thought it was older porn. So I cranked out a nice blank on the rooftop of my house. Those film images were recycled frequently during my younger jack sessions. Naked people in a big pile, shit was hot. Years later in my high school history class we watched a documentary. Thirty minutes in, I began recognizing some footage from my spank bank. Unfortunately the documentary covered the holocaust and the “hot” naked people were being lined up, stripped naked and killed, then dumped into a mass grave pile. And I've been getting off to this for years. I learned a lesson that day…don't jack it to black and white films kids.

My aspirations for how we might “live” Fernando Pessoa's The Book of Disquiet together.

Mícheál Lehane, Political Correspondent, reports on the political reaction to RTÉ's appearance at the Oireachtas Media Committee.

We celebrate Dave's recent teaching award and talk about recent reading highlights, meditation updates, music we've been listening to, and the memories they've triggered. Check out these links for content mentioned in this episode: Rick Rubin's book The Creative Act: A Way of Being and podcast interview with Roger McGuinn, The Book of Disquiet by Fernando Pessoa, The Apple TV series Dickinson, David Lynch's video introduction to Transcendental Meditation, a feature on TM at Norwich University, Rick Beato's YouTube interview with producer Daniel Lanois, and The O'Jays "Lovetrain." --- Support this podcast: https://podcasters.spotify.com/pod/show/podula-rasa-podcast/support

This week we celebrate 5 years of Pod Mod with Marc Weidenbaum (https://disquiet.com/), who is one of the few people responsible for kickstarting my electronic music career! New Systems Instruments Triphase Oscillator (https://nsinstruments.com/modules/triphase.html) SUPPORT POD MOD ON PATREON (https://www.patreon.com/podularmodcast) Featured Artist: Nick Turner (https://fullspectrumrecords.bandcamp.com/album/under-dark-pines) Thank you: 4ms: https://4mscompany.com/ After Later Audio: http://afterlateraudio.com/ Patchwerks: https://patchwerks.com/ NOVATION: https://novationmusic.com/en/synths/summit WAVEFORM MAGAZINE: https://waveformmagazine.com/

Rylee (@aalanzaa) is a brilliant mathematician, teacher, speaker, developer, musician, and facilitator of community. She's a moderator at lines, a constant and encouraging presence in the norns discord, and in the last weeks of December last year she released an incredible collection of hyperpop and electronica songs as Alanza called 'Learning to Run'. An episode with Rylee has long been on my wishlist — like, since 2018. In every track she shared as part of the Disquiet (@disquiet) Junto that year, Rylee always uncovered the most hypnotic and miraculous timbres — and her virtuosity as a synthesist has only become more evident in the years since. In this episode, Rylee shares insights into her pursuits as a mathematician, her strategies for synthesizer orchestration inside and out of a pop music context, and some background into the production of 'Learning to Run'. Rylee approached our conversation with so much generosity and openness of heart — I'm very thankful we finally got to make this happen. All featured tracks are from 'Learning to Run' (https://alanza.bandcamp.com/album/learning-to-run): - Breaking Philip - Your Way Through Mine - It's Not Him - Me - They Gave You Bones - Nowhere - You - Push It Through

Could a 10-year-old girl rule North Korea? Will an Isis victim upend web law? And why is Germany upset with its Oscars contender? Olly Mann and The Week delve behind the headlines and debate what really matters from the past seven days. With Sorcha Bradley, Jamie Timson and Arion McNicoll

Feeling hungry? Good news - there's a whole lot to chew on as we bite into BONES AND ALL!! We start spoiler-free before digging into the film's underwhelming marketing push, discuss performances that “go full M-O-O-N spells moon” and which ones don't, meet a cannibal sidekick, explore the dirty 1980s of the Boomer generation that haunts every frame, sink our teeth into some amazing acting and photography on display, and get hungry for hands!! All this, plus we ask serious questions about the sartorial needs of Eaters and consider David Cronenberg, Fashion Model!! It's a walking feast this week on Kill By Kill!!! This episode of the Kill By Kill podcast is partly brought to you by DISQUIET, a twisted, spine-tingling thriller, now streaming on Redbox. Jonathan Rhys Meyers stars as a patient who wakes to discover he is trapped in an abandoned hospital by mysterious and sinister forces that have no intention of letting him leave. Don't miss out on this must-see movie: Stream DISQUIET instantly on Redbox On Demand today. Rated R. From Paramount Pictures.  Our linker.ee Our TeePublic shop for killer merch is right here: https://www.teepublic.com/stores/kill-by-kill-podcast?utm_campaign=18042&utm_medium=affiliate&utm_source=Kill%2BBy%2BKill%2Bpodcast%2B      Have something to say? Find us on Twitter @KillByKillPod Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast  Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!   Follow our station on vurbl: https://vurbl.com/station/2bdTISeI3X/ Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today!

 DownloadWelcome to LOTC Double Double Episode 4. This week GregaMortis and Ian Irza starts a 2 pt series with Luciano Ercoli's The Forbidden Photos Of A Lady Above Suspicion. Not only is this segment going to be about Luciano but also Susan Scott and Simon Andreu. Lots of interesting discussion about this film that we hope You will dig. Also during this episode GregaMortis and The Twisted Temptress are joined by Karen Wagner and Brian Scott to break down every episode of Guillermo del Toro's Cabinet Of Curiosities available on Netflix. Brian and Karen did such an amazing job on this segment and we are confident You will be having lots of laughter as well as learning some interesting things about the episodes. As if this was not enough, GregaMortis and the Twisted Temptress reviews a 2023 Thriller called Disquiet. Here what they think about the movie. Thank You so much for tuning into this episode and for tuning in to every episode. If you are new to the show we would love if you would subscribe to the podcast via whatever platform you listen and also, it would be amazing if you would leave us a rating on your platform if they allow it. This really helps the show gain popularity. So sit back and turn up the volume and take a journey with us through the Land Of The Creeps.HELP KEEP HORROR ALIVE!MOVIE REVIEW : 1970 FORBIDDEN PHOTOS OF A LADY ABOVE SUSPICIONIAN : 9GREGAMORTIS : 9BLU-RAY PURCHASE2023 DISQUIET GREGAMORTIS : 7.5TWISTED TEMPTRESS : 8KAREN WAGNER LINKS:FACEBOOKTWITTERBRIAN SCOTT LINKS :FACEBOOKTWITTERLINKS FOR DOUBLE DOUBLEGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of  The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdTwisted Temptress LinkLetterboxdIAN IRZA LINKSBLOG SITEFACEBOOKTWITTERINSTAGRAMLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website

I read from disprize to disquiet.     The Scientific Method is: -Observation/Question -Research Topic Area -Hypothesis -Test with Experiment -Analyze Data -Report Conclusions https://en.wikipedia.org/wiki/Scientific_method     The word of the episode is "disprove".     Theme music from Jonah Kraut https://jonahkraut.bandcamp.com/     Merchandising! https://www.teepublic.com/user/spejampar     "The Dictionary - Letter A" on YouTube   "The Dictionary - Letter B" on YouTube   "The Dictionary - Letter C" on YouTube   "The Dictionary - Letter D" on YouTube     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar https://www.tiktok.com/@spejampar 917-727-5757

Today I'm joined by DISQUIET Writer/Director Michael Winnick. DISQUIET, a supernatural thriller starring Jonathan Rhys Meyers (“Vikings”, “The Tudors”), Rachelle Goulding (Wifelike, Lethal Weapon), Elyse Levesque (Ready or Not, “Orphan Black”), Lochlyn Munro (“Riverdale”, White Chicks) will be released in select theatres, on digital, and on demand on February 10, 2023. Jonathan Rhys Meyers stars in the terrifying, edge-of-your-seat thriller. After a near-fatal car accident, Sam (Meyers) wakes to discover he is trapped in an abandoned hospital by mysterious and sinister forces that have no intention of letting him leave... --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/followingfilms/support

Aban Usmani brings you the news from Delhi, Tamil Nadu, Jammu and Kashmir, and the US.Produced by P Madhu Kumar, edited by Satish Kumar. Hosted on Acast. See acast.com/privacy for more information.

In this Bible Story, God chooses David, a young shepherd boy no older than 17, and is anointed king over Israel by Samuel. David did not know that he was anointed king, for only Samuel and God knew. This story is inspired by 1 Samuel 16. Go to BibleinaYear.com and learn the Bible in a Year.Today's Bible verse is 1 Samuel 16:7 from the King James Version.Episode 84: While Samuel was mourning Saul's disobedience, God came to him and commanded him to go to Jesse's household, in the land of Bethlehem, to anoint the new King that God had chosen. David, the youngest among his brothers, was chosen as King and anointed by Samuel because of his heart. Meanwhile, Saul was tossing and turning, growing increasingly disturbed in his spirit. So his servant requested that Saul should send for David the son of Jesse to play music for Saul and to ease his troubled mind.Hear the Bible come to life as Pastor Jack Graham leads you through the official BibleinaYear.com podcast. This Biblical Audio Experience will help you master wisdom from the world's greatest book. In each episode, you will learn to apply Biblical principles to everyday life. Now understanding the Bible is easier than ever before; enjoy a cinematic audio experience full of inspirational storytelling, orchestral music, and profound commentary from world-renowned Pastor Jack Graham.Also, you can download the Pray.com app for more Christian content, including, Daily Prayers, Inspirational Testimonies, and Bedtime Bible Stories.Visit JackGraham.org for more resources on how to tap into God's power for successful Christian living.This episode is sponsored by Medi-Share, an innovative health care solution for Christians to save money without sacrificing quality.Pray.com is the digital destination of faith. With over 5,000 daily prayers, meditations, bedtime stories, and cinematic stories inspired by the Bible, the Pray.com app has everything you need to keep your focus on the Lord. Make Prayer a priority and download the #1 App for Prayer and Sleep today in the Apple app store or Google Play store.Executive Producers: Steve Gatena & Max BardProducer: Ben GammonHosted by: Pastor Jack GrahamMusic by: Andrew Morgan SmithBible Story narration by: Todd HaberkornSee omnystudio.com/listener for privacy information.

Naomi O'Leary is on the line from Brussels where a money-for-influence corruption scandal has rocked the European Parliament. But first, Jack Horgan-Jones and Cliff Taylor on the significance a proposal to overhaul planning laws and potential opposition to the bill from within government. Hosted on Acast. See acast.com/privacy for more information.

Quiet. Shhh. Softly. Don't make a fuss. Don't upset the authorities. Victoria Adukwei Bulley unquiets the quiet.Victoria Adukwei Bulley is a poet, writer, and artist. She is the author of Quiet (Faber Books 2022; Knopf 2023), which was shortlisted for the 2022 T.S. Eliot Prize. Bulley is currently a doctoral student at the Royal Holloway, University of London.Find the transcript for this show at onbeing.org.We're pleased to offer Victoria Adukwei Bulley's poem, and invite you to connect with Poetry Unbound throughout this season.Pre-order the forthcoming book Poetry Unbound: 50 Poems to Open Your World and join us in our new conversational space on Substack.

This week, Alan, Quinta, and Scott were joined by Lawfare senior editor and congressional expert Molly Reynolds to hash through the week's big national security news stories, including: “Disquiet on the Eastern Front.” While Russia has been beaten back in most of the rest of the country, its efforts to hold secessionist eastern Ukraine are proving more resilient and producing what some are calling a war of attrition. What does this tell us about what the next phase of the conflict is likely to look like? And what does it mean for U.S. policy? “It's Time to Play the Music, It's Time to Light the Lights, It's Time to Meet the Suspects on Primetime Thursday Night.” At long last, the Jan. 6 committee is set to hold its first public hearing later this week, during evening prime-time. What are we expecting from the hearings? And what should we be on the lookout for?“An Exercise of Prosecutorial Concession.” Last week, the Justice Department opted to move forward with the prosecution of one former Trump administration official for refusing to cooperate with the Jan. 6 committee's investigation, but declined to prosecute two other former officials who had also been referred by the committee for contempt. Why did the Justice Department take a different tack in these cases? And what does it mean for congressional investigations moving forward?For object lessons, Alan recommended both the library book and audiobook accessing app Libby and Bruce Levine's portrait of the last days of the antebellum South, "The Fall of the House of Dixie." Quinta provided a reminder that U.S. politics has always been vitriolic. Scott was surprised to find himself strongly recommending the new documentary "Val," documenting the life of actor Val Kilmer. And Molly celebrated the return of the premiere show about Scandinavian parliamentary intrigue, "Borgen"! See acast.com/privacy for privacy and opt-out information.