Podcasts about duchamp

This was an excellent Saturday crossword -- with clue difficulty mostly ranging from scarily difficult to "you must be joking, Ms. Hoody". These sorts of puzzles make for a deeply satisfying solve (if you can), and no loss of face (if you cannot). Also, any crossword that manages to quietly work ICEPALACE, ICET, and SAMOVAR into the same grid clearly deserves some sort of praise, and here it is: a full 5 squares on the JAMCR scale. Bravo!Also in today's episode: our choice for JAMCOTWA, the Jean And Mike Crossword Of The Week Award. To find out who won, and why, please subscribe/like/follow, download, and, of course, enjoy!Show note imagery: An example of a Duchamp readymade, art based on ordinary products (such as this bicycle wheel)We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

"Don't fall in love with power." – MF, 1977

Con la straordinaria Sabrina Cavallari siamo qui per raccontarvi nuove curiosità dal mondo dell'arte! In questa puntata esploreremo un'arte denuncia a salvaguardia del pianeta, trasformando materiali di scarto in opere dal significato profondo. Da Picasso a Duchamp, scopriremo come il riciclo e il rifiuto possano diventare strumenti di espressione artistica, dando nuova identità agli oggetti e lanciando messaggi provocatori. Un viaggio tra ironia e critica alla società dei consumi, tra creatività e riflessione. Non perdetevi questa puntata ricca di spunti interessanti e sorprese! Buon ascolto! Dani & Lia ~~~~~ With the extraordinary Sabrina Cavallari, we are here with facts from the art world! In this episode, we will explore art as a protest to safeguard the planet, transforming waste materials into works with deep meaning. From Picasso to Duchamp, we will discover how recycling and discarded objects can become tools of artistic expression, giving new identities to objects and conveying provocative messages. This episode is a journey through irony and critique of consumer society, blending creativity and reflection. Don't miss this episode, which is full of fascinating insights and surprises!

Fabriano Fabbri"La voce del diavolo"L'arte contemporanea e la moda.Einaudi Editorewww.einaudi.itNel lungo arco della contemporaneità, l'arte del vestire ha sedotto il corpo per liberarlo da disagi e inibizioni, lo ha accarezzato per divorarne le energie, lo ha spinto oltre i suoi limiti per urlare al mondo «la voce del diavolo», come scriveva William Blake: lo ha protetto con cura per reciderlo dai lacci della morale e del perbenismo. Fabriano Fabbri rilegge la storia dell'arte dalla fine del Settecento agli anni Duemila usando come metronomo le funamboliche evoluzioni del guardaroba di ieri e di oggi, fra i tumulti della tecnologia e le tempeste della rivoluzione sessuale.Moda e arte vivono di intrecci senza fine, di trame a doppio filo, di storie nelle storie che incantano, che sorprendono, che illudono e divertono. Nelle sue frenetiche rapsodie creative, ogni stile indumentale ha stretto da sempre un accordo di alleanza con i movimenti artistici piú noti al grande pubblico, dal Neoclassicismo alla Pop art. Eppure, in pochi conoscono le spinte sotterranee che animano moda, pittura e scultura, in pochi afferrano le ragioni profonde che spingono le une fra le braccia dell'altra. Quante volte abbiamo incontrato la parola «Minimalismo » curiosando fra rete e riviste? Quante volte abbiamo sentito parlare di Dalí e Schiaparelli o di Mondrian e Saint Laurent? E i colorati parei di Gauguin, quanto li abbiamo visti fra le pitture tropicali del simbolista francese e la sua impudica «casa del piacere»? E poi, ancora, chi non ha presente le danzatrici di Canova o la Madame Récamier di David in provocanti «vesti di velo», per rubare le parole al «Divin marchese» de Sade?«Vèstiti, cosí alla sdrucciola, potrebbe suonare come un imperativo, un invito piú o meno scoperto a dare un tocco di ricercatezza agli ingredienti del nostro stile. Oppure potrebbe essere un sostantivo: vestíti intesi come abiti, come capi d'abbigliamento, come divise, come fogge. Infine, vestíti, participio passato di vestire. Sia quel che sia, quando ci copriamo di tessuti non stiamo avvolgendo il corpo per semplice necessità di decoro e protezione: stiamo indossando le forme – le tele? – di Picasso e di Chanel, se ci infiliamo in un rettangolo; ci stiamo abbigliando con le visioni di Turner o Pollock quando i tessuti sono sdruciti, grinzosi e caotici; siamo invece avvolti dall'ironia di Duchamp se il nostro look è sofisticato, insolito, a volte street – come ci insegna Virgil Abloh. E siccome la storia dell'arte e del costume è sempre una storia di spazio e di volumi, partiremo proprio dall'amplesso mai interrotto fra gli artisti e gli stilisti del nostro tempo. Sia chiaro, è fin troppo ovvio mettere le mani in avanti, spiegare a mo' di preambolo che il primo impatto con un'opera d'arte o con un'opera vestimentaria coinvolge l'interezza della nostra sfera emotiva, del gusto e della personalità, delle cose che semplicemente “ci piacciono” cosí, in via istintiva; ma se vogliamo entrare nel merito dei valori che favoriscono uno stile piuttosto che un altro per capirne a fondo il senso culturale, spazio e volume sono le materie prime di un approccio obiettivo, il piú fedele possibile al nostro oggetto di interesse. E nel farlo sarà fondamentale tenere ben salda la distinzione tra le forme della modernità e le forme del contemporaneo».Fabriano Fabbri insegna Stili e arti del contemporaneo, Forme della moda contemporanea e Contemporary fashion all'Università di Bologna. È autore di numerose monografie su arte e moda, tra cui Sesso arte rock'n'roll, Atlante, Bologna 2006; Lo zen e il manga, Bruno Mondadori, Milano 2009; Boris Bidjan Saberi. 11, Atlante, Bologna 2013; L'orizzonte degli eventi, Atlante, Bologna 2013; Angelo Marani, Atlante, Bologna 2015. Per Einaudi ha pubblicato La moda contemporanea. Arte e stile da Worth agli anni Cinquanta (2019), La moda contemporanea. Arte e stile dagli anni Sessanta alle ultime tendenze (2021) e La voce del diavolo. L'arte contemporanea e la moda (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:31:50 - A votre service avec Nelly Sorbier et ses experts - Avec Loïc Duchamp, généalogiste et enquêteur génétique, explorez le monde fascinant de la généalogie...Partagez des anecdotes étonnantes, des cold cases résolus grâce aux recherches familiales et des conseils pratiques pour débloquer un arbre généalogique.

durée : 00:27:17 - A votre service avec Nelly Sorbier et ses experts - Loïc Duchamp, généalogiste familial/touristique et enquêteur génétique nous guide dans nos recherches familiales. Tests ADN, exploration des archives et conseils pratiques : plongez dans l'histoire de vos ancêtres grâce à ses astuces et recommandations éclairées.

Vad söker vi i konsten: en spegelbild av världen eller ett redskap att förändra den med? Kulturredaktionens Mårten Arndtzén ser hur aktivism och idealism riskerar att tränga ut leken ur kulturen. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Ursprungligen publicerad den december 2019. I filmen Shadowlands (1993) finns en scen som aldrig släppt taget om mig. Den amerikanska poeten Joy Gresham är på besök hos sin litterära idol och blivande make, C.S Lewis, i Oxford. Med sig har hon sonen Douglas, en pojke i bokslukaråldern som förtrollats av den brittiske författarens berättelser om det magiska landet Narnia. I den här scenen hittar Lewis pojken på vinden i sitt hus. Han har just sökt igenom ett gammalt klädskåp - precis ett sådant som bildar porten till Narnia i den första boken, Häxan och lejonet. Det här skåpet är förstås bara ett skåp. Och för Douglas, en besvikelse av metafysiska proportioner. Passagen mellan världar är en arketyp med djupa och vitt förgrenade, kulturella rötter. Dess förutsättning är förstås gränsen, den klara åtskillnaden mellan en ordning och en annan. Verklighetens och fantasins, det heligas och det profanas, vardagens och festens. Utan gränsen är också varje form av lek omöjlig. Det slår den nederländske kulturhistorikern Johan Huizinga (1872–1945) fast i sin klassiska essä "Homo ludens", den lekande människan, från 1938: "Arenan, spelbordet, trollkretsen, templet, scenen, filmduken" - ja, till och med domstolen pekar han ut som en lekplats, otänkbar utan sin ram, "avgränsat, inhägnat, heligt område där särskilda regler gäller". Regler som inte tål något tvivel, för då störtar lekvärlden samman. Man kan tänka sig en fotbollsmatch där någon rullar in en andra boll på planen, eller ett schackparti där oenighet uppstår kring vilken regel som helst. Ändå är leken motsatsen till byråkrati. Dess väsen ligger i förmågan att entusiasmera, det roliga är dess mening. Dess första kännetecken är att den är fri, ja t.o.m frihet, skriver Huizinga. Hur går det ihop? Huizinga återger en anekdot, där en far försöker närma sig sin fyraårige son, som sitter på den främsta av en rad stolar och leker tåg. "Pappa", säger pojken "du får inte pussa lokomotivet, för då tror vagnarna att det inte är riktigt". Här finns alltså, redan hos ett litet barn, en ganska avancerad, dubbel blick på världen: pojken vet mycket väl att stolarna inte är tågvagnar. Och samtidigt är de det, så länge lekens rum kan fredas. Gränsen upprätthållas. Jag vet inte om pojken i Shadowlands, Douglas, hade låtit sig tröstas av detta - men ur lekens perspektiv fungerar klädskåpet verkligen som en passage till andra världar, så länge man accepterar att det bara är ett vanligt skåp. Också. Leken är, menar Huizinga, äldre än kulturen. Ja än själva mänskligheten, eftersom även djur leker. Men just den där dubbla blicken tycks gå förlorad i den civilisatoriska utvecklingen, på åtminstone ett av lekens områden: kultens. Inom antropologin finner Huizinga belägg för att den är verksam inom det man på hans tid kallar primitiva kulter. Den gamla tidens tro på andeväsen tycks inte vara helt igenom bokstavlig utan mer likna just leken, med dess dubbla blick på världen. I de moderna, monoteistiska religionerna krymper det förhandlingsutrymmet. Hashem, Allah och Kristus kan inte både finnas och inte. I konsten ser Huizinga också en nedgång, även om den kommer betydligt senare: sedan 1700-talet har konsten "förlorat mer än den vunnit av lekkvalitet", skriver han. Orsaken är inte minst dess allt högre, kulturella status: "Något av dess eviga barnslighet gick förlorat i den självsäkra kännedomen om egna benådade uppgifter". Homo Ludens kommer alltså ut 1938. Året innan har Berthold Brecht för första gången prövat sin "verfremdungseffekt" på scen: det dramaturgiska greppet att slå hål på illusionen och bryta igenom den så kallade fjärde väggen, till exempel genom att skådespelarna vänder sig ut mot salongen och talar direkt till publiken. Det här är bara ett av den konstnärliga modernismens oräkneliga angrepp på gränsen mellan konst och liv. Just den gräns förutan vilken ingen lek, i Huizingas mening, är möjlig. Men så är konsten inte heller någon lek, för Brecht. Inte ens en spegelbild av världen, utan en hammare att forma den med. Så här en dryg mansålder senare tycks det inte längre vara konstnären som håller i hammaren, utan publiken. Det är i varje fall den bild som förmedlas i den tyske konstkritikern Hanno Rauterbergs uppmärksammade essä "Hur fri är konsten? Den nya kulturstriden och liberalismens kris". Som så många gånger förr står striden om konstens frihet, det nya är varifrån attackerna mot den kommer. Inte längre, i första hand, från konservativa opinioner eller klåfingriga makthavare. Utan från de delar av publiken som kan åberopa någon form av utsatthet eller underordning. Rauterbergs essä är uppbyggd kring ett pärlband av exempel på, ofta framgångsrika, censurkrav som rests av eller för ursprungsbefolkningar, afroamerikaner, känsliga studenter, kränkta kvinnor och plågade djur. Upplösningen av gränsen mellan konst och liv har, menar Rauterberg, lett till en förväntan att konsten ska representera livet - men inte som spegel, alltså som det är - utan istället som det borde vara. Konsten blir en kompensatorisk inrättning, museerna ett slags "rena" platser i en smutsig värld. En liknande förväntan kan man se på litteraturen, i debatter kring prestigefulla priser och bokmässor. Liksom på teatern och inom televisionen, när övergreppsanklagade skådespelare ersätts eller klipps bort. Konstens frihet krymper som en följd av förväntningarna på dess förmåga som hammare - utan att livet för den skull verkar låta sig formas i någon större utsträckning. När modernisterna gav sig på gränsen mellan konst och liv var syftet inte alltid så instrumentellt. Tag Marcel Duchamp och hans ready-mades; cykelhjulet, flasktorkaren och urinoaren. Föremål som leker med konstens gräns mot livet, som - snarare än att försöka forma världen i någon bestämd riktning - tycks vilja öppna den för något av konstens frihet. Först efter kriget får de sin ikonstatus som konstbegreppets nemesis - beviset för att allt kan vara konst, att gränsen bara är en konvention. Vilket inte alls verkar ha varit Duchamps avsikt: intervjuad av konstkritikern Pierre Cabanne säger Duchamp att han aldrig avsåg att upphöja cykelhjulet och flasktorkaren till konst. "Det skedde bara i distraktion", säger han, "som förströelse". Den här intervjun görs i mitten av 1960-talet, när Duchamp för länge sedan lagt konsten på hyllan och istället gjort sig en semi-professionell karriär som schackspelare - en verksamhet som till punkt och pricka stämmer in på Johan Huizingas lekbegrepp: tydligt avgränsat från livet och absolut regelstyrt. Det var vad alla trodde - fram till året efter hans död. 1969 invigs det verk Duchamp i hemlighet arbetat på i över två decennier, Étant donnés, på konstmuseet i Philadelphia, USA. För att se det måste man först passera igenom den särskilda sal museet har för Duchamps arbeten; ett slags initiation, där vi träder in i just den här konstnärens speciella värld. Längst in i hörnet öppnar sig salen mot ett litet rum. Det är tomt, men i ena änden avslutat med en kraftig port i trä. Hårt väderbiten, uppenbart uråldrig, tycks den utlova passage till någon helt annan slags plats. Vi kan se den genom två små titthål i dörren: ett märkligt landskap badande i krispigt ljus, och med detaljer som kan oroa eller attrahera eller både och - som en naken kvinnokropp på en bädd av kvistar. Men närmare än så kommer vi inte: dörren saknar handtag. Vi kan förstås slå in den, och tvinga oss in. Men då skulle illusionen brytas, och istället för en värld skulle vi få en konstruktion; istället för ett mysterium: en atrapp. Vi skulle ha brutit mot reglerna, och överskridit gränsen. Och "så snart reglerna sättas åsido", konstaterar Johan Huizinga, "störtar lekvärlden samman. Då är leken förbi". Precis intill titthålen har träet i dörren en annan nyans, kanske är det spår av besökarna? Ett halvt sekels slitage från lekande människor. Mårten Arndtzénmarten.arndtzen@sr.se

Nur Fingertwist auf dem Schulhof? Die Ausstellung „Fadenspiele/String Figures“ im Tinguely-Museum Basel stellt eine der ältesten Kulturtechniken der Menschheit in den Mittelpunkt.

In 1915, Marcel Duchamp bought a snow shovel at a hardware store in New York City. He inscribed his signature and the date on its wooden handle. On the evening this episode is released, the fourth version of this classic “ready-made,” which he titled “In Advance of the Broken Arm,” will be auctioned off at Christie's during their 20th Century Evening Sale. It's estimated to sell for $2 million to $3 million.How could a simple snow shovel be valued at such a steep price? Was  Duchamp an unmatched genius, or a product of some of the biggest museums' dirtiest little secrets: the results of pure, unadulterated capitalism?Northeastern University professor, essayist, poet, and editor Eunsong Kim has illuminated the underlying influences of industrial capitalism and racism behind some of the most prized museum collections in her new book, The Politics of Collecting: Race and the Aestheticization of Property. She traces how Duchamp was brought to prominence through the patronage of collectors Louise and Walter Arensberg, heirs of a fortune wrought by the steel industry. Their family operated steel mills in the same setting as titans such as Andrew Carnegie and Henry Clay Frick, whose wealth also underlies their own valuable art collections.And as it turns out, the “death of the author,” celebrated in conceptual art like that of Duchamp, is a convenient idea for the ultrawealthy. Devaluing labor pairs well with violent crackdowns on striking workers to deny them adequate pay. Or even Frederick Winslow Taylor's development of “scientific management,” a system that is still cited today but is based on the idealization of the slave plantation.How much of the Modernist archive was canonized by union-busting bosses? How much of conceptual art in the 20th and 21st centuries has been buoyed by the reverence of scientific management? In this episode, Editor-in-chief Hrag Vartanian sits down to talk with Kim about her new volume, which challenges generations of unquestioned received knowledge and advocates for a new vision of art beyond cultural institutions. In the process, they discuss the craft of writing, how a White artist was counted as a Black artist at the 2014 Whitney Biennial, and how Marcel Duchamp got away with selling bags of air.Subscribe to Hyperallergic on Apple Podcasts, and anywhere else you listen to podcasts.—Subscribe to Hyperallergic NewslettersBecome a member

durée : 00:06:12 - Nouvelles têtes - par : Mathilde Serrell - C'est la nouvelle lauréate du prix Marcel Duchamp 2024 ! Celui des futurs grands noms de l'art contemporain. Dans son travail, elle a choisi de ne pas choisir entre ses racines bretonnes et haïtiennes ! La plasticienne Gaëlle Choisne est l'invitée de Nouvelles Têtes ». - réalisé par : Lucie Lemarchand

Teria sido o famoso urinol de Marcel Duchamp criado por uma mulher? Vou atrás de respostas na história cheia de escândalos e lacunas de uma artista que foi o Dadaísmo em pessoa: Elsa von Freytag-Loringhoven. Como apoiar este podcast: apoia.se/alinevalek Para assinar grátis minha newsletter: alinevalek.substack.com Converse comigo: escreva@alinevalek.com.br Links relacionados: Site com os poemas de Elsa Von Freytag-Loringhoven (em inglês) https://digital.lib.umd.edu/transition/ Uma introdução ao dadaísmo: https://www.youtube.com/watch?v=H_ltPg4ysuE Livro de Irene Gammel: “Baroness Elsa: Gender, Dada and Everyday Modernity - a cultural biography” https://mitpress.mit.edu/9780262572156/baroness-elsa/ Artigo no The Guardian: “A woman in the men's room: when will the art world recognise the real artist behind Duchamp's Fountain?” https://www.theguardian.com/books/2019/mar/29/marcel-duchamp-fountain-women-art-history “Só faz sua parada", primeiro texto que escrevi sobre Elsa: https://alinevalek.substack.com/p/so-faz-a-sua-parada Dossiê completo de pesquisa sobre a Baronesa: https://bit.ly/4f0ZQlX Episódios relacionados: O tarô de Pâmela https://open.spotify.com/episode/1O3vEpiBxRzxly41k73Nf9?si=bee82730049442bd Viciadas em Retratos https://open.spotify.com/episode/5K7zQY3wRFRs0npMgfOYOq?si=3f57f3af852843d1 Estética viral https://open.spotify.com/episode/7fnWGJ99rLUBvLrmOSDXvV?si=a995b4d452544834 Trilha sonora: “Spying in the 60s", Sir Clubworth • “Avant Jazz - Disco Ultralounge”, Kevin MacLeod • “Argentina Jazz”, Droidvar • “This is not jazz”, True Cuckoo • “Gipsy Stroll”, Aaron Lieberman • “Minor Lament for Solo Jazz”, John Patitucci • “Allégro", Emitt Fenn • “Allegations of Investigations”, Jesse Gallagher • “Slow Tonk”, Big Vegie

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In The Politics of Collecting: Race and the Aestheticization of Property (Duke University Press, 2024), Eunsong Kim traces how racial capitalism and colonialism situated the rise of US museum collections and conceptual art forms. Investigating historical legal and property claims, she argues that regimes of expropriation—rather than merit or good taste—are responsible for popular ideas of formal innovation and artistic genius. In doing so, she details how Marcel Duchamp's canonization has more to do with his patron's donations to museums than it does the quality of Duchamp's work, and she uncovers the racialized and financialized logic behind the Archive of New Poetry's collecting practices. Ranging from the conception of philanthropy devised by the robber barons of the late nineteenth century to ongoing digitization projects, Kim provides a new history of contemporary art that accounts for the complicated entanglement of race, capital, and labor behind storied art institutions and artists. Drawing on history, theory, and economics, Kim challenges received notions of artistic success and talent and calls for a new vision of art beyond the cultural institution. Eunsong Kim is Associate Professor of English at Northeastern University. Jen Hoyer is Technical Services and Electronic Resources Librarian at CUNY New York City College of Technology. Jen edits for Partnership Journal and organizes with the TPS Collective. She is co-author of What Primary Sources Teach: Lessons for Every Classroom and The Social Movement Archive. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/politics-and-polemics

When developing a business centered around Japanese prints, there are many factors to consider: the audience, the history, and how you want to be perceived by the public. The appeal of the Japanese aesthetic, along with your own personal aesthetic and brand identity, can also be just as important to your business. On this episode of The Unfinished Print, I speak with Malene Wagner, a gallerist, curator, writer, and art historian whose business operates under the name Tiger Tanuki. Malene shares her passion for collecting and selling Japanese prints, and we explore the European perspective on Japanese prints and printmaking. We also dive into Japanese aesthetics and how they are interpreted through a Western lens. Additionally, Malene discusses how these aesthetics influence her brand, Tiger Tanuki, the role history plays in shaping her business, and her upcoming book. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Malene Wagner & Tiger Tanuki - Instagram, website ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century.  Uniqlo -  a Japanese clothing brand known for its affordable, minimalist, and high-quality everyday wear. It focuses on functional designs, using innovative fabrics like Heattech for warmth and AIRism for breathability. Uniqlo is popular worldwide for offering essential wardrobe staples and often collaborates with well-known designers and artists to create unique collections. Clear Day With A Southern Breeze (1831) is a print usually known as "Red Fuji." From the series Thirty Six Views of Mt. Fuji this print was actually pink, red was used in later impressions by publisher Nishimuraya Yohachi.  The Great Wave off Kanagawa - is a woodblock print designed by Katsushika Hokusai in 1831. It is very famous.  Yayoi Kusama -  is a pioneering Japanese artist known for her immersive installations and polka dot motifs that explore themes of infinity, identity, and mental health. Born in 1929 in Matsumoto, Japan, Kusama began her artistic journey through painting and avant-garde practices, eventually moving to New York in the late 1950s, where she became a key figure in the pop art and feminist movements. Her works, range from large-scale installations like the "Infinity Mirror Rooms" to her vibrant sculptures and paintings. Kusama's art is a deeply personal expression of her own experiences with mental illness, transforming her obsessions into stunning visual experiences that resonate globally. Today, she is celebrated as one of the most influential contemporary artists, with exhibitions and installations that captivate audiences worldwide. From "Life Is The Heart of A Rainbow", Installation (2017) MANGA - was an exhibition from May 23 - August 26, 2019 held at the British Museum in London, England.  shin hanga - is a style of Japanese woodblock printmaking that emerged in the early 20th century, marking the end of the nishiki-e period. Originating around 1915 under the direction of Watanabe Shōzaburō (1885-1962), the art form responded to the foreign demand for "traditional" Japanese imagery. Shin hanga artists focused on motifs like castles, bridges, famous landscapes, and bamboo forests. The style was initiated when Watanabe discovered Austrian artist Fritz Capelari (1884-1950) and commissioned him to design prints for Watanabe's budding printing house. This collaboration led to the evolution of shin hanga into a distinctive new style of Japanese woodblock printing. The shin hanga movement thrived until its inevitable decline after the Second World War (1939-1945). sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Tomoo Inagaki (1902-1980) - introduced to mokuhanga by Onchi Kōshirō and Un'cihi Hiratsuka in 1923. Beginning in 1924, Inagaki published his first prints in magazines such as Shi to hanga (issue 13), Hanga (issues 6, 9/10, 11, 14), and Kitsutsuki, and exhibited with the Nihon Sôsaku-Hanga Kyôkai (Japan Creative Print Association). He became a member of the Nihon Hanga Kyôkai (Japan Print Association) in 1932 and participated in various post-war international competitions, including the Paris, Tokyo, and Lugano biennales. His cat prints have been highly collectible. More info can be found at Viewing Japanese Prints, here. The Rival Cats - 18" x 24" (1960's - 1970's) Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Frances Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Japanese Bath (1937) - 11 7/8" x 9 5/8 " Yoshitomo Nara - is a renowned Japanese contemporary artist and is celebrated for his distinctive paintings and sculptures featuring figures with large heads and expressive eyes, often exploring themes of innocence, rebellion, and solitude.  Change The History (2007) acrylic on wood 74-7/16" × 55-1/2" × 3-1/8" Mingei - is a Japanese term that translates to "folk craft" or "people's art." It refers to a movement that emerged in the early 20th century, emphasizing the value and beauty of traditional, handmade crafts created by anonymous artisans. Mingei focuses on everyday objects, such as pottery, textiles, furniture, and utensils, that reflect the culture and daily life of the people who made them. Lawrin Smith - is the author of the book "The Prints of Yoshitoshi: A Complete Illustrated Catalog" (2009). This comprehensive catalog focuses on the works of Tsukioka Yoshitoshi. The book provides detailed descriptions and illustrations of Yoshitoshi's prints, showcasing his significant contributions to the ukiyo-e genre and his influence on modern printmaking. Wabi-sabi is a Japanese aesthetic philosophy that celebrates the beauty of imperfection, transience, and the natural cycle of life. It combines two concepts: "wabi," which refers to rustic simplicity and tranquility found in nature, and "sabi,"which denotes the beauty that comes with age and wear. Wabi-sabi values simplicity, asymmetry, and the unique characteristics of objects and experiences, encouraging appreciation for the impermanent and humble aspects of life. This philosophy is reflected in various forms of art, architecture, and design, emphasizing natural materials and handcrafted items, and fostering mindfulness and acceptance of the imperfections that make life beautiful. A-yo - is a renowned Japanese artist associated with the Gutai Art Association, an avant-garde group that emerged in post-war Japan. Known for his vibrant colors and distinctive style, Ay-O's work often incorporates elements of nature, light, and movement, reflecting themes of playfulness and spontaneity. He engages with materials in innovative ways and has explored performance art as part of his creative expression. With extensive exhibitions both in Japan and internationally, Ay-O has made significant contributions to contemporary art, emphasizing the joy of creation and the aesthetic experience. Marcel Duchamp (1887–1968) was a French-American artist and a key figure in modern art, known for his significant influence on the Dada movement and conceptual art. He initially trained as a painter but became renowned for challenging traditional notions of art through his controversial works, such as "Fountain"(1917), a readymade sculpture of a urinal that questioned the definition of art and the role of the artist. Duchamp's other notable pieces, including "The Large Glass" (1915–1923) and "Bicycle Wheel" (1913), explored themes of chance and perception. His innovative ideas about art as a conceptual experience rather than a purely visual one continue to resonate, solidifying his status as one of the most influential artists of the 20th century.   Fountain (1917) replica (1964)   Naoko Matsubara - is a contemporary Japanese printmaker known for her expertise in mokuhanga. Born in Osaka, she studied at Kyoto Seika University, where she specialized in printmaking and mastered the techniques of this ancient art form. Matsubara's work often blends traditional methods with contemporary themes, exploring the relationship between nature, culture, and identity. Her prints are characterized by intricate details, vibrant colors, and a deep appreciation for the materials and techniques involved in woodblock printing. She teaches and promotes mokuhanga both in Japan and abroad, exhibiting her work in galleries and museums worldwide and receiving numerous awards for her contributions to the field. Naoko's interview with The Unfinished Print can be found, here.    Gihachiro Okuyama (1907-1981) - was a prominent Japanese printmaker and painter associated with the sōsaku hanga (creative prints) movement. Born in Tokyo, he studied traditional Japanese painting and was influenced by Western art styles, leading to innovative woodblock prints characterized by bold colors and dynamic compositions that blend traditional aesthetics with modern elements. Throughout his career, Okuyama exhibited extensively in Japan and internationally, contributing significantly to contemporary printmaking while also playing a vital role in art education by sharing his expertise with future generations. His work reflects a deep engagement with the cultural exchanges between East and West during the post-war period.     Moonscape - 10" x 21"   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Prince Rokuson Tsunemoto from Suikoden of Japanese Heroes (1843) 10" x 7"    Utagawa Kunisada III (1848–1920) - was a ukiyo-e print designer from the Utagawa school of mokuhanga. Kunisada III's print designs were designed during the transformation of the Edo Period (1603-1868) into the Meiji Period (1868-1912) of Japanese history, where his prints showed the technological, architectural and historical changes in Japan's history.    Kabuki Plays - Narukami and Princess Toki (ca. 1890's) triptych   Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here.    Dog, Daschund 2 10" x 15"   Edvard Munch (1863-1944) - was a Norweigan artist, who initially was a painter, but also ventured into printmaking making 850 images. His print medium was etching, lithography, and woodcut. More information can be found here, at Christie's.      Anxiety (1894)   Pieter Cornelius Mondrian (1872-1944) - a Dutch artist who's work helped found De Stijl in 1917, a group of Dutch painters who helped codify Mondrian's abstraction and industrial design. Mondrian has a wide spectrum of works and styles created throughout his career. More information can be found, here from the Guggenheim.   Mill in Sunlight (1908). Credit: Kunstmuseum Den Haag, The Hague, The Netherlands © 2021 Mondrian/Holtzman Trust   Shunga - meaning "spring pictures," is a genre of Japanese erotic art that flourished during the Edo period (1603–1868), characterized by woodblock prints, paintings, and illustrated books depicting explicit sexual scenes often combined with humor, romance, and social commentary. Notable for its vibrant colors and intricate details, shunga explores themes of intimacy and sexuality, serving both as entertainment and education in a culture where such topics were often taboo. The genre reflects societal attitudes toward love and relationships and has a rich history despite facing censorship at various times. Today, shunga is recognized as a significant part of Japanese art history, appreciated for its aesthetic qualities and cultural context. Paul Binnie - Candlelight (1994) kappazuri print 24" x 18"  Tosa Prefecture - historically known as Tosa Province, is located in the southern part of Shikoku, Japan, and corresponds to present-day Kochi Prefecture. Renowned for its natural beauty, including mountains, rivers, and coastal landscapes, Tosa has a rich cultural heritage that includes traditional crafts like Tosa washi (handmade paper) and Tosa pottery. The region is famous for its vibrant festivals, such as the Yosakoi Festival, which features lively dance performances, and is known for its agricultural products, particularly citrus fruits like yuzu and sudachi, along with seafood. Kochi City, the capital of Kochi Prefecture, serves as the cultural and economic center, showcasing local cuisine, historical sites, and museums. Tosa's unique blend of natural scenery, traditional crafts, and cultural events contributes to its significance within Japan. © Popular Wheat Productions opening and closing credit - I Am Pentagon by the band Make Up from their album Save Yourself (1999) released by K Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***        

(via chatgpt) Mediterranean diet origins https://chatgpt.com/share/d08bab1d-23f4-424c-85e1-bcf679fa8ba1 Mediterranean diet supplement can affect epigenetics associated with healthy aging http://medicalxpress.com/news/2024-08-mediterranean-diet-supplement-affect-epigenetics.html Deadly mosquito virus has Mass. towns urging people to stay in at night https://www.washingtonpost.com/nation/2024/08/25/massachusetts-rare-mosquito-virus/ What is Art? Marcel Duchamp: Great Art Explained https://youtu.be/Bj7FJGrxtXY?si=o9txjTqU1Jl9gcI1 New Age Spirituality Explained https://youtu.be/MXzOqW4mNpo?si=_l4wkpuJao-BaRAC The Food that Changed the World https://pca.st/542n9yto canal do radinho ... Read more The post os pilares da Nova Era, Duchamp é arte? dieta mediterrânea é mediterrânea? appeared first on radinho de pilha.

It's easy to talk about what we don't want in the world—hate, discrimination, and violence against our community—but what kind of future DO we want to see?  In this episode Gabe and Chris ask past guests from this season what kind of queer utopia they'd like to see materialize by the year 2069, on the 100th anniversary of the Stonewall riots. You'll hear from kinksters, artists, and sex workers about their hopes for the future, and the possible innovations, societal shifts, and sexual possibilities that await us later this century.  Follow Sniffies' Cruising Confessions: cruisingconfessions.com   Try Sniffies: sniffies.com   Follow Sniffies on Social: Instagram: instagram.com/sniffiesapp X: x.com/sniffiesapp TikTik: tiktok.com/@sniffiesapp   Follow the hosts: Gabe Gonzalez: instagram.com/gaybonez Chris Patterson-Rosso: instagram.com/cprgivesyoulife   Guests featured in this episode:   Scott Carslake: x.com/muscledcumhole Leo Herrera:  iftheylived.org   Brontez Purnell  instagram.com/brontezpurnell   Xavier Blanco linktr.ee/nycdominicano   Tomik Dash instagram.com/tomik2point0 linkin.bio/tomik2point0   Dale Corvino instagram.com/dalecorvino dalecorvino.com   Jules Rosskam instagram.com/julesrosskamfilms www.desirelinesfilm.com   Santos J. Arce instagram.com/kinkpunx/ linktr.ee/santosjarce   Donald C. Shorter Jr instagram.com/donxmen   Chipper instagram.com/followchipper instagram.com/unleashedbkSee omnystudio.com/listener for privacy information.

No, no es verdad…y aqui veras algunas cosas que te mostrarán porque. ………………………………………………………………………………………. Invitados: Astudillo @4studill0 …. Jon Snow /Desde El Exilio es Mejor @jhon_sown “Lo correcto es correcto, incluso si todos están en contra. Y lo incorrecto es incorrecto, incluso si todos están a favor”#Desde El Exilio …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Psicología, Ocultismo y Capitalismo en el Imperio de la Ficción | Entrevista a Pedro Bustamante https://www.youtube.com/watch?v=t5sKs30-Eco La Psicología del Poder entre la Ficción y la Realidad | Entrevista The Eye Opener https://www.youtube.com/watch?v=futMQ8ahavM De guerras en Gaza y falsas banderas https://odysee.com/@tecnico.preocupado:7/De-guerras-en-Gaza-y-falsas-banderas:4 Tuit sobre Djokovic https://x.com/tecn_preocupado/status/1820166369486557673 Hilo inauguración Paris https://x.com/tecn_preocupado/status/1817085972607041692 OSCURO OCULTISMO EN HIPERCUBOS, HEXÁGONOS Y OCTÁGONOS https://tecnicopreocupado.com/2017/05/04/oscuro-ocultismo-en-hipercubos-hexagonos-y-octagonos/ La fuente' de Duchamp, el urinario que cambió la historia del arte https://www.elconfidencial.com/cultura/2017-04-15/arte-vanguardias-duchamp-fuente-urinario_1366043/ El arte moderno era un “arma” de la CIA https://litwinbooks.com/modern-art-was-cia-weapon/ UTP105a Victoria en abril, el fin de la pandemia y el subidón del Bitcoin https://www.ivoox.com/utp105a-victoria-abril-fin-la-audios-mp3_rf_66397752_1.html Que no te líen con el azúcar https://gominolasdepetroleo.com/que-no-te-lien-con-el-azucar/ LA «BUENA» ESTRELLA ROCKEFELLER QUE BRILLÓ DE LA CUNA A LA TUMBA https://tecnicopreocupado.com/2018/01/18/la-buena-estrella-rockefeller-que-brillo-de-la-cuna-a-la-tumba/ UTP93 vacunas, la parte oscura https://www.ivoox.com/utp93-vacunas-parte-oscura-audios-mp3_rf_52200315_1.html Historia de Moderna Inc (empresa que esta desarrollando una vacuna para el Covid19) https://www.modernatx.com/about-us/modernas-key-milestones-and-advancements Agencia de Proyectos de Investigación Avanzados de Defensa https://es.wikipedia.org/wiki/Agencia_de_Proyectos_de_Investigaci%C3%B3n_Avanzados_de_Defensa PRUEBAS PCR: EL KIT DE CALDO PARA PAELLAS QUE NOS ENFERMÓ A TODOS https://tecnicopreocupado.com/2020/08/10/pruebas-pcr-el-kit-de-caldo-para-paellas-que-nos-enfermo-a-todos/ La ilustre degeneración. De Toledos, Mauras y Caros. https://lawebdelassombras.blogspot.com/2013/04/la-ilustre-degeneracion.html La ilustre degeneración: los rituales de la élite https://consciencia-verdad.blogspot.com/2015/01/la-ilustre-degeneracion-los-rituales-de.html Manual para entender la dictadura: La censura (Chico Sanchez min 25) https://www.ivoox.com/manual-para-entender-dictadura-la-censura-audios-mp3_rf_132264893_1.html ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Epílogo Rosana - Sin Miedo https://www.youtube.com/watch?v=-itbA8sE18o

Bienvenidos a un nuevo directo desde Twitter para luego emitirlo en Ivoox junto a los casi 950 audios que tenemos allí publicados. Una gran audioteca que junto con el blog tecnicopreocupado punto com y los videos publicados en Youtube, Odysee, Bitchute y Ugetube forman una enorme hemeroteca que de momento sigue a disposición de todos de forma totalmente altruista. Recuerden que tengo un crowfunding para recaudar dinero para mi defensa judicial, la cual, creanme que la necesito y ojala no fuera así. Pero ese tema me produce demasiada quemazón y estamos en verano, a punto de entrar en Agosto. Se han dado cuenta de que si observan las puestas de Sol o las salidas de este durante todo el año van a descubrir el movimiento hacia atrás y hacia adelante que recrea a un ocho. Aunque no podamos ver esta figura cuando esta bajo el horizonte o el mar pero nos aparecerá si tomamos una fotografía del Sol en el cielo desde el mismo punto y a la misma hora todos los días. Tiene dos extremos, uno en el solsticio de verano en junio y otro en el solsticio de invierno en diciembre. Se llama técnicamente Analema. En astronomía, el analema, del griego «pedestal de un reloj de sol» es la curva que describe el Sol en el cielo si todos los días del año se lo observa a la misma hora del día (huso horario) y desde el mismo lugar de observación. Por eso los relojes de arena se empezaron a representar con la forma de un 8. Es una de tantas cosas sabias del pasado que hemos ido desaprendiendo. En la descripción del podcast os dejaremos un precioso video tomado en Canarias donde vemos las puestas de Sol mirando hacia el Teide. Poco a poco vamos perdiendo el conocimiento ancestral y nos cargamos de morralla inservible. Porque aunque el tramposo de Darwin le haya vendido a la ciencia que estamos evolucionando, la verdad, es que si miramos a nuestro alrededor todo es mas chabacano, triste, feo, desamparado y poco creativo. El arte ha involucionado hacia una copia barata, cutre e incluso sucia de lo que acostumbraba ser. Solo es necesario ponerle el marchamo de arte a cualquier cosa y de repente se convierte en arte. Tal y como podemos leer en la biografía de Marcel Duchamp, un ajedrecista y artista que pululó por las vanguardias de principios del siglo XX que trajeron el dadaísmo: “Duchamp es uno de los principales valedores de la creación artística como resultado de un puro ejercicio de la voluntad, sin necesidad estricta de formación, preparación o talento.” Y es que talento, lo que se dice talento no es necesario para comprar un urinario en 1917, ponerle la firma de un tal R. Mutt en el borde inferior y pretender exponerlo en una exposición de la Sociedad de artistas independientes en Nueva York donde mas de 20.000 personas hubieran visto “su meada”. Al final, no le dejaron exponerlo, pero esto mas que ser una contrariedad fue el detonante para que Alfred Stieglitz la fotografiase para la posteridad. Desde luego estamos hablando del urinario más famoso del mundo. Lo que vino después ya lo conocemos, cualquier gilipollas puede declararse artista y pintar, modelar o construir cosas con cualquier parte de su cuerpo. Desde globos de pintura arrojados desde los anos o las vaginas del artista, pinceles fálicos, o insertados en cualquier agujero corporal, pintura a través de la estampación del cuerpo desnudo del artista o, en fin, cualquier cosa que se le ocurra al o la gilipollas de turno sin necesidad estricta de formación, preparación o talento. En el periódico The Independent escribe Frances Stonor Saunders: “Durante décadas, en los círculos artísticos, esto fue un rumor o una broma, pero ahora se ha confirmado como un hecho. La CIA utilizó el arte moderno estadounidense, incluidas las obras de artistas como Jackson Pollock, Robert Motherwell, Willem de Kooning y Mark Rothko, como arma en la Guerra Fría. A la manera de un príncipe renacentista, pero actuando en secreto, la CIA promovió y promovió la pintura expresionista abstracta estadounidense en todo el mundo durante más de 20 años.” Esto lo vimos por ejemplo al leer el informe Iron Mountain de 1967 donde se nos dice que las elites ya están desarrollando un tipo de arte determinado: “Resulta interesante observar que el trabajo correspondiente a una estética libre de valores de esta naturaleza ya se está realizando hoy en los crecientes experimentos artísticos que carecen de contenido, posiblemente anticipando así la venida de un mundo sin conflictos. Se ha desarrollado un culto alrededor de un nuevo determinismo cultural que propone que la forma tecnológica de la expresión cultural determina sus valores en lugar de hacerlo a través de un contenido con un significado ostensible.” Traduzco. “Estética libre de valores”, “experimentos artísticos que carecen de contenido” y “contenido que no tenga significado ostensible” significa “crear cualquier mierda” y hacerla pasar por arte para seguir entreteniendo a los dormidos. Creanme que hay magníficos creadores en todos los campos artísticos y por supuesto son relegados al ostracismo mientras suben al estrellato a desgraciados abrazafarolas dedostorcidos y uñas largas. Ni que decir que las películas son copias de otras películas que a la vez fueron obras maestras incluso del cine mudo. Todo es una copia de una copia y al final en ese trajín de copias y pegas se pierde la verdadera esencia que nos trasmitían aquellos filmes, aquellas viejas obras de arte que la mayoría de las veces se basaban en buenas novelas o en obras inmortales de la mitología. En el mundo de la música ocurre lo mismo, todo se degrada a una velocidad que hace imposible conectar con lo que escuchan las nuevas generaciones. El reguetón no ceja en parir lechones. Supuestos cantantes mas cantamañanas que la anterior camada. Nos están obligando a involucionar de tanto tragar mierda. Y ese, desde luego, es uno de los objetivos que tienen las elites para con el pueblo llano. Con todos nosotros a los que nos denominan masa sucia, a veces incluso los muertos porque realmente no reaccionamos. Aunque cada vez más se aprecia una reacción contraria a lo que pretenden las elites. Esto lo hemos visto en la inauguración de los juegos olímpicos de Paris, o más bien deberíamos llamarles los primeros juegos Woke olímpicos de la historia. Finalmente han tenido que retirar de las plataformas para terminar pidiendo perdón. Curiosamente la portavoz de los juegos olímpicos que pidió perdón se llama Anne Descamps, sí, un apellido muy parecido a aquel del urinario. Vivimos en un mundo woke, aunque los muy sibilinos de los que mandan le han dado una definición muy chula a esa palabreja. Woke significa «despierto» en inglés y es un término que, originado en los Estados Unidos, inicialmente se usaba para referirse a quienes se enfrentan o se mantienen alerta frente al racismo. “Tócate los cojones” que diría mi abuela. Los wokes son los despiertos y los que los criticamos somos los dormidos…ja, ja, ja, el mundo al revés. Puro satanismo que coloca a la mierda en el altar y degrada a lo puro y a la vida al cubo de la basura. Mierda, sí. Eso ha sido esta enorme mierda de inauguración olímpica en un río Sena lleno de mierda hasta los topes. Hubo incluso una quedada para inundar de heces el río antes de la celebración de estos juegos. No sé si se llevaría a cabo, pero da igual, no se puede limpiar en 5 minutos lo que se ha ensuciado durante años. Hemos podido ver sobretodo unas claras referencias a la masonería y burlas hacia la religión católica y más concretamente contra el cristianismo. Casualmente en las 33 olimpiadas, numero muy importante dentro de la masonería. No nos debería de sorprender si el coreógrafo principal, Thomas Jolly, es de la religión de los recaudadores de impuestos. Bueno, él e imagino que gran parte del elenco de trans, bailarines con un huevo colgando y demás purria que intentaba imitar la última cena de Da Vinci en vez de bajo la luz divina de Cristo bajo tres filas de 6 fluorescentes. Sí, el 666 estuvo bien presente en todo esto, cada tramo de ese puente tenia sus 6 fluorescentes. La figura femenina elegida para representar a Cristo fue la obesa mórbida y DJ B. B. (diremos las iniciales ya que ha terminado por denunciar a troche y moche a todos los que la han criticado). Por supuesto, también es de la religión de los recaudadores de impuestos. Las 12 escenas guionizadas por Jolly, el jovial recaudador, describirían un pais rico en diversidad, inclusivo, no una Francia, sino varias Francias, así como un mundo entero reunido. En clara alusión a los doce apóstoles que se convierten así en las doce Francias, en los 12 despojos de un pais soberano lobotomizado y sometido a la involución. Vimos artistas con la cabeza cortada fingiendo ser Maria Antonieta en horario infantil, bailarines negros bailando, bueno, estrujando a niñas de ocho años, trans de todos los colores y modelos, fuegos artificiales simulando ser sangre palaciega y todo tipo de luces realizando figuras que nos recuerdan a la escuadra y el compás masónico o al sigilo de Lucifer. También los vimos bailando sincopadamente en el ajedrezado masónico y colapsando en el piso iluminado de rojo como si de una repentinitis se tratase. Y es que lo que comenzaba con el izado de la bandera olímpica del revés no podia augurar nada bueno. Ya saben que dentro del satanismo hacer las cosas del revés está bien visto, por eso muchas camisetas satánicas se cosen con las costuras por fuera. Como guinda del pastel debemos hablar del caballo pálido que trotó por encima de las aguas del Sena simulando a Cristo pero trayendo un mensaje claro que podemos leer en Apocalipsis 6:8 “Miré, y he aquí un caballo amarillo, y el que lo montaba tenía por nombre Muerte, y el Hades le seguía; y le fue dada potestad sobre la cuarta parte de la tierra, para matar con espada, con hambre, con mortandad, y con las fieras de la tierra.” Sí, amigos, las élites psicopatocraticas no solo nos quieren pervertir y degradar haciendo que involucionemos sino que nos quieren directamente asesinar. Sus mentes eugenistas ven demasiadas almas poblando “su” Tierra. Esta gentuza ha probado la sangre y conoce su sabor dulzón. Y quiere más y más rápido. A ellos les importa una mierda que el camino al infierno sea muy corto y la vuelta sin embargo dure toda la eternidad. ………………………………………………………………………………………. Invitados: Ira @Genes72 …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Un año, 365 puestas de sol https://www.youtube.com/watch?v=kRENfTomQIo La fuente' de Duchamp, el urinario que cambió la historia del arte https://www.elconfidencial.com/cultura/2017-04-15/arte-vanguardias-duchamp-fuente-urinario_1366043/ El arte moderno era un “arma” de la CIA https://litwinbooks.com/modern-art-was-cia-weapon/ Hilo inauguración Paris https://x.com/tecn_preocupado/status/1817085972607041692 La organización de los JJ.OO. pide perdón a los ofendidos por la representación de 'La última cena’ https://www.youtube.com/watch?v=-CYaWi_bOjA Ceremonia inaugural Juegos Olímpicos París 2024 (según el Español, pero mira, mira, no hay nada) https://www.youtube.com/watch?v=Ag7xCxFsLe0 Paris 2024 Historic Olympic Opening Ceremony: Lady Gaga, Celine Dion, Gojira & MORE https://www.youtube.com/watch?v=myAHrXIwqXs Masones célebres (Jacques y Etienne Montgolfier https://issuu.com/retalesdemasoneria/docs/retales_masoneria_numero_124_-_octubre_2021/s/13696938 ¿REALMENTE SABES QUIÉN FUE KARL MARX? I https://tecnicopreocupado.com/2015/05/07/realmente-sabes-quien-fue-karl-marx/ ¿REALMENTE SABES QUIÉN FUE KARL MARX? II https://tecnicopreocupado.com/2015/05/08/realmente-sabes-quien-fue-karl-marx-ii/ PIRÁMIDE TRUNCADA ILLUMINATI EN GOBIERNO FRANCES MACRON https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/piramide-truncada-illuminati-en-gobierno-frances-macron/ EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/ SATANISMO Y ANTISATANISMO https://tecnicopreocupado.com/2014/05/12/satanismo-y-antisatanismo/comment-page-1/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS I https://tecnicopreocupado.com/2014/05/22/ovnis-basura-radiactiva-sectas-y-pseudocientificos/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS II https://tecnicopreocupado.com/2014/05/23/ovnis-basura-radiactiva-y-pseudocientificos-ii/ Atentado a Trump que lo catapulta como presidente https://foroconspiracion.com/threads/atentado-a-trump-que-lo-catapulta-como-presidente.345/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET I https://tecnicopreocupado.com/2019/08/31/pongame-un-quarto-de-masoneria-en-un-poblet-i/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET II https://tecnicopreocupado.com/2019/09/01/pongame-un-quarto-de-masoneria-en-un-poblet-ii/ Sealand, el país más pequeño del mundo que está en una plataforma marina https://www.idealista.com/news/inmobiliario/internacional/2018/11/14/769523-sealand-la-plataforma-marina-que-es-el-pais-mas-pequeno-del-mundo Con los trevifans hemos topado https://www.elmundo.es/blogs/elmundo/elblogdesantiagogonzalez/2016/08/14/con-los-trevifans-hemos-topado.html Sealand o de como montarse una patria con un poco de morro https://x.com/juliodelarrosa/status/960822921991254016 Decapitan a otro hombre en Valencia, el segundo en menos de 30 horas https://x.com/CarlosMontas13/status/1818946314303934789 Videos Es Clave https://tecnicopreocupado.com/videos/videos-es-clave/ LA SATÁNICA DERIVA DEL FEMINISMO QUE SACRIFICA LA FERTILIDAD FEMENINA https://tecnicopreocupado.com/2019/07/28/la-satanica-deriva-del-feminismo-que-sacrifica-la-fertilidad-femenina/ LIBRO DE MICRORRELATOS https://tecnicopreocupado.com/libro-de-microrrelatos/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros ………………………………………………………………………………………. Epílogo Los Aldeanos - Censurados https://youtu.be/k8pGYFN1a_4?feature=shared

Bienvenidos a un nuevo directo desde Twitter para luego emitirlo en Ivoox junto a los casi 950 audios que tenemos allí publicados. Una gran audioteca que junto con el blog tecnicopreocupado punto com y los videos publicados en Youtube, Odysee, Bitchute y Ugetube forman una enorme hemeroteca que de momento sigue a disposición de todos de forma totalmente altruista. Recuerden que tengo un crowfunding para recaudar dinero para mi defensa judicial, la cual, creanme que la necesito y ojala no fuera así. Pero ese tema me produce demasiada quemazón y estamos en verano, a punto de entrar en Agosto. Se han dado cuenta de que si observan las puestas de Sol o las salidas de este durante todo el año van a descubrir el movimiento hacia atrás y hacia adelante que recrea a un ocho. Aunque no podamos ver esta figura cuando esta bajo el horizonte o el mar pero nos aparecerá si tomamos una fotografía del Sol en el cielo desde el mismo punto y a la misma hora todos los días. Tiene dos extremos, uno en el solsticio de verano en junio y otro en el solsticio de invierno en diciembre. Se llama técnicamente Analema. En astronomía, el analema, del griego «pedestal de un reloj de sol» es la curva que describe el Sol en el cielo si todos los días del año se lo observa a la misma hora del día (huso horario) y desde el mismo lugar de observación. Por eso los relojes de arena se empezaron a representar con la forma de un 8. Es una de tantas cosas sabias del pasado que hemos ido desaprendiendo. En la descripción del podcast os dejaremos un precioso video tomado en Canarias donde vemos las puestas de Sol mirando hacia el Teide. Poco a poco vamos perdiendo el conocimiento ancestral y nos cargamos de morralla inservible. Porque aunque el tramposo de Darwin le haya vendido a la ciencia que estamos evolucionando, la verdad, es que si miramos a nuestro alrededor todo es mas chabacano, triste, feo, desamparado y poco creativo. El arte ha involucionado hacia una copia barata, cutre e incluso sucia de lo que acostumbraba ser. Solo es necesario ponerle el marchamo de arte a cualquier cosa y de repente se convierte en arte. Tal y como podemos leer en la biografía de Marcel Duchamp, un ajedrecista y artista que pululó por las vanguardias de principios del siglo XX que trajeron el dadaísmo: “Duchamp es uno de los principales valedores de la creación artística como resultado de un puro ejercicio de la voluntad, sin necesidad estricta de formación, preparación o talento.” Y es que talento, lo que se dice talento no es necesario para comprar un urinario en 1917, ponerle la firma de un tal R. Mutt en el borde inferior y pretender exponerlo en una exposición de la Sociedad de artistas independientes en Nueva York donde mas de 20.000 personas hubieran visto “su meada”. Al final, no le dejaron exponerlo, pero esto mas que ser una contrariedad fue el detonante para que Alfred Stieglitz la fotografiase para la posteridad. Desde luego estamos hablando del urinario más famoso del mundo. Lo que vino después ya lo conocemos, cualquier gilipollas puede declararse artista y pintar, modelar o construir cosas con cualquier parte de su cuerpo. Desde globos de pintura arrojados desde los anos o las vaginas del artista, pinceles fálicos, o insertados en cualquier agujero corporal, pintura a través de la estampación del cuerpo desnudo del artista o, en fin, cualquier cosa que se le ocurra al o la gilipollas de turno sin necesidad estricta de formación, preparación o talento. En el periódico The Independent escribe Frances Stonor Saunders: “Durante décadas, en los círculos artísticos, esto fue un rumor o una broma, pero ahora se ha confirmado como un hecho. La CIA utilizó el arte moderno estadounidense, incluidas las obras de artistas como Jackson Pollock, Robert Motherwell, Willem de Kooning y Mark Rothko, como arma en la Guerra Fría. A la manera de un príncipe renacentista, pero actuando en secreto, la CIA promovió y promovió la pintura expresionista abstracta estadounidense en todo el mundo durante más de 20 años.” Esto lo vimos por ejemplo al leer el informe Iron Mountain de 1967 donde se nos dice que las elites ya están desarrollando un tipo de arte determinado: “Resulta interesante observar que el trabajo correspondiente a una estética libre de valores de esta naturaleza ya se está realizando hoy en los crecientes experimentos artísticos que carecen de contenido, posiblemente anticipando así la venida de un mundo sin conflictos. Se ha desarrollado un culto alrededor de un nuevo determinismo cultural que propone que la forma tecnológica de la expresión cultural determina sus valores en lugar de hacerlo a través de un contenido con un significado ostensible.” Traduzco. “Estética libre de valores”, “experimentos artísticos que carecen de contenido” y “contenido que no tenga significado ostensible” significa “crear cualquier mierda” y hacerla pasar por arte para seguir entreteniendo a los dormidos. Creanme que hay magníficos creadores en todos los campos artísticos y por supuesto son relegados al ostracismo mientras suben al estrellato a desgraciados abrazafarolas dedostorcidos y uñas largas. Ni que decir que las películas son copias de otras películas que a la vez fueron obras maestras incluso del cine mudo. Todo es una copia de una copia y al final en ese trajín de copias y pegas se pierde la verdadera esencia que nos trasmitían aquellos filmes, aquellas viejas obras de arte que la mayoría de las veces se basaban en buenas novelas o en obras inmortales de la mitología. En el mundo de la música ocurre lo mismo, todo se degrada a una velocidad que hace imposible conectar con lo que escuchan las nuevas generaciones. El reguetón no ceja en parir lechones. Supuestos cantantes mas cantamañanas que la anterior camada. Nos están obligando a involucionar de tanto tragar mierda. Y ese, desde luego, es uno de los objetivos que tienen las elites para con el pueblo llano. Con todos nosotros a los que nos denominan masa sucia, a veces incluso los muertos porque realmente no reaccionamos. Aunque cada vez más se aprecia una reacción contraria a lo que pretenden las elites. Esto lo hemos visto en la inauguración de los juegos olímpicos de Paris, o más bien deberíamos llamarles los primeros juegos Woke olímpicos de la historia. Finalmente han tenido que retirar de las plataformas para terminar pidiendo perdón. Curiosamente la portavoz de los juegos olímpicos que pidió perdón se llama Anne Descamps, sí, un apellido muy parecido a aquel del urinario. Vivimos en un mundo woke, aunque los muy sibilinos de los que mandan le han dado una definición muy chula a esa palabreja. Woke significa «despierto» en inglés y es un término que, originado en los Estados Unidos, inicialmente se usaba para referirse a quienes se enfrentan o se mantienen alerta frente al racismo. “Tócate los cojones” que diría mi abuela. Los wokes son los despiertos y los que los criticamos somos los dormidos…ja, ja, ja, el mundo al revés. Puro satanismo que coloca a la mierda en el altar y degrada a lo puro y a la vida al cubo de la basura. Mierda, sí. Eso ha sido esta enorme mierda de inauguración olímpica en un río Sena lleno de mierda hasta los topes. Hubo incluso una quedada para inundar de heces el río antes de la celebración de estos juegos. No sé si se llevaría a cabo, pero da igual, no se puede limpiar en 5 minutos lo que se ha ensuciado durante años. Hemos podido ver sobretodo unas claras referencias a la masonería y burlas hacia la religión católica y más concretamente contra el cristianismo. Casualmente en las 33 olimpiadas, numero muy importante dentro de la masonería. No nos debería de sorprender si el coreógrafo principal, Thomas Jolly, es de la religión de los recaudadores de impuestos. Bueno, él e imagino que gran parte del elenco de trans, bailarines con un huevo colgando y demás purria que intentaba imitar la última cena de Da Vinci en vez de bajo la luz divina de Cristo bajo tres filas de 6 fluorescentes. Sí, el 666 estuvo bien presente en todo esto, cada tramo de ese puente tenia sus 6 fluorescentes. La figura femenina elegida para representar a Cristo fue la obesa mórbida y DJ B. B. (diremos las iniciales ya que ha terminado por denunciar a troche y moche a todos los que la han criticado). Por supuesto, también es de la religión de los recaudadores de impuestos. Las 12 escenas guionizadas por Jolly, el jovial recaudador, describirían un pais rico en diversidad, inclusivo, no una Francia, sino varias Francias, así como un mundo entero reunido. En clara alusión a los doce apóstoles que se convierten así en las doce Francias, en los 12 despojos de un pais soberano lobotomizado y sometido a la involución. Vimos artistas con la cabeza cortada fingiendo ser Maria Antonieta en horario infantil, bailarines negros bailando, bueno, estrujando a niñas de ocho años, trans de todos los colores y modelos, fuegos artificiales simulando ser sangre palaciega y todo tipo de luces realizando figuras que nos recuerdan a la escuadra y el compás masónico o al sigilo de Lucifer. También los vimos bailando sincopadamente en el ajedrezado masónico y colapsando en el piso iluminado de rojo como si de una repentinitis se tratase. Y es que lo que comenzaba con el izado de la bandera olímpica del revés no podia augurar nada bueno. Ya saben que dentro del satanismo hacer las cosas del revés está bien visto, por eso muchas camisetas satánicas se cosen con las costuras por fuera. Como guinda del pastel debemos hablar del caballo pálido que trotó por encima de las aguas del Sena simulando a Cristo pero trayendo un mensaje claro que podemos leer en Apocalipsis 6:8 “Miré, y he aquí un caballo amarillo, y el que lo montaba tenía por nombre Muerte, y el Hades le seguía; y le fue dada potestad sobre la cuarta parte de la tierra, para matar con espada, con hambre, con mortandad, y con las fieras de la tierra.” Sí, amigos, las élites psicopatocraticas no solo nos quieren pervertir y degradar haciendo que involucionemos sino que nos quieren directamente asesinar. Sus mentes eugenistas ven demasiadas almas poblando “su” Tierra. Esta gentuza ha probado la sangre y conoce su sabor dulzón. Y quiere más y más rápido. A ellos les importa una mierda que el camino al infierno sea muy corto y la vuelta sin embargo dure toda la eternidad. ………………………………………………………………………………………. Invitados: Ira @Genes72 …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ………………………………………………………………………………………. Enlaces citados en el podcast: Un año, 365 puestas de sol https://www.youtube.com/watch?v=kRENfTomQIo La fuente' de Duchamp, el urinario que cambió la historia del arte https://www.elconfidencial.com/cultura/2017-04-15/arte-vanguardias-duchamp-fuente-urinario_1366043/ El arte moderno era un “arma” de la CIA https://litwinbooks.com/modern-art-was-cia-weapon/ Hilo inauguración Paris https://x.com/tecn_preocupado/status/1817085972607041692 La organización de los JJ.OO. pide perdón a los ofendidos por la representación de 'La última cena’ https://www.youtube.com/watch?v=-CYaWi_bOjA Ceremonia inaugural Juegos Olímpicos París 2024 (según el Español, pero mira, mira, no hay nada) https://www.youtube.com/watch?v=Ag7xCxFsLe0 Paris 2024 Historic Olympic Opening Ceremony: Lady Gaga, Celine Dion, Gojira & MORE https://www.youtube.com/watch?v=myAHrXIwqXs Masones célebres (Jacques y Etienne Montgolfier https://issuu.com/retalesdemasoneria/docs/retales_masoneria_numero_124_-_octubre_2021/s/13696938 ¿REALMENTE SABES QUIÉN FUE KARL MARX? I https://tecnicopreocupado.com/2015/05/07/realmente-sabes-quien-fue-karl-marx/ ¿REALMENTE SABES QUIÉN FUE KARL MARX? II https://tecnicopreocupado.com/2015/05/08/realmente-sabes-quien-fue-karl-marx-ii/ PIRÁMIDE TRUNCADA ILLUMINATI EN GOBIERNO FRANCES MACRON https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/piramide-truncada-illuminati-en-gobierno-frances-macron/ EL OCTÁGONO SATÁNICO Y LAS MASÓNICAS ELECCIONES FRANCESAS https://tecnicopreocupado.com/2017/05/11/el-octagono-satanico-y-las-masonicas-elecciones-francesas/ SATANISMO Y ANTISATANISMO https://tecnicopreocupado.com/2014/05/12/satanismo-y-antisatanismo/comment-page-1/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS I https://tecnicopreocupado.com/2014/05/22/ovnis-basura-radiactiva-sectas-y-pseudocientificos/ OVNIS, BASURA RADIACTIVA Y SEUDOCIENTÍFICOS II https://tecnicopreocupado.com/2014/05/23/ovnis-basura-radiactiva-y-pseudocientificos-ii/ Atentado a Trump que lo catapulta como presidente https://foroconspiracion.com/threads/atentado-a-trump-que-lo-catapulta-como-presidente.345/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET I https://tecnicopreocupado.com/2019/08/31/pongame-un-quarto-de-masoneria-en-un-poblet-i/ PÓNGAME UN QUARTO DE MASONERÍA EN UN POBLET II https://tecnicopreocupado.com/2019/09/01/pongame-un-quarto-de-masoneria-en-un-poblet-ii/ Sealand, el país más pequeño del mundo que está en una plataforma marina https://www.idealista.com/news/inmobiliario/internacional/2018/11/14/769523-sealand-la-plataforma-marina-que-es-el-pais-mas-pequeno-del-mundo Con los trevifans hemos topado https://www.elmundo.es/blogs/elmundo/elblogdesantiagogonzalez/2016/08/14/con-los-trevifans-hemos-topado.html Sealand o de como montarse una patria con un poco de morro https://x.com/juliodelarrosa/status/960822921991254016 Decapitan a otro hombre en Valencia, el segundo en menos de 30 horas https://x.com/CarlosMontas13/status/1818946314303934789 Videos Es Clave https://tecnicopreocupado.com/videos/videos-es-clave/ LA SATÁNICA DERIVA DEL FEMINISMO QUE SACRIFICA LA FERTILIDAD FEMENINA https://tecnicopreocupado.com/2019/07/28/la-satanica-deriva-del-feminismo-que-sacrifica-la-fertilidad-femenina/ LIBRO DE MICRORRELATOS https://tecnicopreocupado.com/libro-de-microrrelatos/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros DANZIG - LONG WAY BACK FROM HELL [TRADUCIDA] https://www.youtube.com/watch?v=2xlncV0Qo-0 Gente Inteligente - Falsos Heroes! https://www.youtube.com/watch?v=fu6wtYqo-5Y Heroes del Silencio - Despertar https://www.youtube.com/watch?v=B51j9B09rJk Auxiliadora Cárdenas y Luis Enrique Mejía Godoy - MIS DERECHOS DE MUJER https://www.youtube.com/watch?v=JDd1DHgnnw4 ………………………………………………………………………………………. Epílogo Los Aldeanos - Censurados https://youtu.be/k8pGYFN1a_4?feature=shared

Burning Man culture brings people together across all kinds of divides. Yet, we're seeing an uptick of intolerance around art and experiences in our community. The default world is often divided by ideology, religion, and politics. Could that division seep into this culture that aspires to welcome everyone and rise above social schisms?As a community, how can we navigate the turbulent waters between, say, Radical Self-expression and Radical Inclusion? How do we walk the line between free speech and hate speech? How do we keep our global community together in times of outright war?Tune into a roundtable discussion about concerns that don't have easy solutions. Four thinkers in the Burning Man global cultural movement explore how the act of conversation changes what might otherwise seem controversial or divisive:• Stuart Mangrum is Burning Man Project's Director of the Philosophical Center so he directed some philosophers to center around a microphone to discuss.• Caveat Magister debated and discussed Burning Man philosophy, then wrote books about it.• Kay Morrison is a veteran Black Rock City artist, active in the Global Network, and a Burning Man Project board member.• Steven Raspa is Associate Director of Community Events for Burning Man Project, and a co-founder of the Regional Network Committee.This conversation concerns art, yes, and behavior — as participants, as people. It's about being open-minded and open-hearted, even when it's difficult to do. What is a safe space? What is a brave space? How can jackassery be respectful? What's with all the questions? Tune in for the answers that lead to more questions.burningman.org/about/10-principlesTurn Your Life Into Art with Caveat Magister (Burning Man LIVE)Kay Morrison and the Overall Wonderment Quotient (Burning Man LIVE)Remember How to Burning Man with Steven Raspa (Burning Man LIVE)Stuart Mangrum's Serious Philosophy of Shenanigans (Burning Man LIVE) LIVE.BURNINGMAN.ORG

In the fourth Sophia Lecture, Professor Douglas Hedley explores the transformative power of play in art and human consciousness, examining its philosophical significance across various cultures and traditions. Hedley highlights play's role in fostering aesthetic appreciation and creativity, embarking on a historical and philosophical journey from ancient wisdom to modern interpretations. He scrutinizes the aesthetic crisis in contemporary art, noting its departure from traditional notions of beauty and creativity, and weaves together intriguing concepts from evolutionary psychology, post-structuralist theories, and sacred art dimensions. Central to his discussion are the contributions of Kant, Schiller, and Gadamer, which shed light on art's role in society and individual lives. The lecture culminates in a compelling argument to reignite beauty's appreciation, urging a re-embrace of art's transformative potential in contemporary discourse. By positioning art as a conduit for truth and moral reflection, Hedley calls for a rediscovery of the deep connections between art, beauty, and the human condition.   Douglas Hedley is a Professor in the Philosophy of Religion at the University of Cambridge and a Fellow at Clare College. His work spans the fields of philosophy, theology, and psychology, focusing on the intersection of ancient wisdom and modern thought.   Glossary of Terms   Aesthetics: The branch of philosophy dealing with the nature of beauty, art, and taste.   Resources   Ralston College  Website: https://www.ralston.ac/ YouTube: https://www.youtube.com/@RalstonCollegeSavannah X: https://twitter.com/RalstonCollege   Douglas Hedley https://www.ralston.ac/people/douglas-hedley   Living Forms of the Imagination -Douglas Hedley https://www.amazon.com/Living-Forms-Imagination-Douglas-Hedley/dp/0567032957   Sacrifice Imagined: Violence, Atonement, and the Sacred - Douglas Hedley https://www.amazon.com/Sacrifice-Imagined-Violence-Atonement-Sacred/dp/1441194452   The Iconic Imagination - Douglas Hedley https://www.amazon.com/Iconic-Imagination-Douglas-Hedley/dp/1441194630   Homo Ludens: A Study of the Play-Element in Culture - Johan Huizinga  https://www.amazon.com/Homo-Ludens-Study-Play-Element-Culture/dp/1621389995   Truth and Method - Hans-Georg Gadamer  https://www.amazon.com/Truth-Method-Hans-Georg-Gadamer/dp/0826405851    Likeness and Presence: A History of the Image before the Era of Art - Hans Belting https://www.amazon.com/Likeness-Presence-History-Image-before/dp/0226042154 Quotes   "Friedrich Schiller observes that man only plays when he is in the fullest sense of the word a human being, and he is only fully a human being when he plays." - Douglas Hedley [00:15:49]   There has emerged a widely documented crisis of aesthetics. In the wake of Duchamp, or Warhol, it becomes more difficult to speak of the artwork, or indeed, aesthetic experience, more broadly." - Douglas Hedley [00:03:52]  Chapters    00:00:00] Introduction to the Aesthetics of Play [00:02:25] Philosophical Significance of Art, Beauty, and Aesthetics [00:17:00] Kant's Contribution to Aesthetics and the Concept of Genius [00:24:00] Schiller's Aesthetic Education of Man and the Concept of Play [00:33:40] Gadamer's Exploration of Art's Ontology and the Critical Role of Play [00:52:56] Audience Questions and Reflections  

Now that we're through the corebook for C20, other supplements seem like small (but no less nourishing) potatoes. This time around is a double feature: we're flipping through Yours to Keep, the jumpstart and intro adventure for the edition, and Ready-Made Characters, a set of 13 write-ups (one for each core kith) and sample motleys to use in your game. Joining us is author of the first book, Christine Beard!, who talks about some of the process for reading, running, and writing jumpstart modules like this one. The two supplements feature some solid material to get you into the game beyond the corebook proper, so we encourage you to have a listen and hear what's what...! Links and things: Yours to Keep on the Storytellers Vault: https://www.storytellersvault.com/product/217594?affiliate_id=3063731 Ready-Made Characters on the same: https://www.storytellersvault.com/product/225641?affiliate_id=3063731 Christine's website, The Petite Warlock: https://thepetitewarlock.com/ Christine's Mastodon: https://dice.camp/@petitewarlock Christine's actual play podcast, The Cracked Die, for Pathfinder: https://crackeddie.com/ And our panoply of social media as per usual: Discord: https://discord.me/ctp Email: podcast@changelingthepodcast.com Facebook: https://www.facebook.com/profile.php?id=100082973960699 Mastodon: https://dice.camp/@ChangelingPod Patreon: https://www.patreon.com/changelingthepodcast YouTube: https://www.youtube.com/@ChangelingThePodcast your hosts Josh Hillerup (any pronoun) runs games with ready-mades, but they are not Changeling characters; they are Duchamp sculptures. Pooka G (any pronoun/they) assumes that a horror RPG jump-start would be called a jump-scare, yes? End, begin, all the same. Big change. Sometimes good, sometimes bad. —Aughra in The Dark Crystal

"Hey good afternoon! I have a question that could be easily summarized as 'How to deal with "fomo" in non-monogamous/poly/RA relationships?'. (Fomo: fear of missing out.) And to give a bit more information: When I was in a polyamorous relationship for over a year I noticed I sometimes struggled with complicated feelings around missing out on (important) events/activities my then partner would attend with their other partner/s. They seemed to also have a hard time dealing with their partners feeling of 'fomo' and dividing activities. It made me think of how to handle things myself in the future if I would have multiple partners. I think there's a part that has to do with unpacking (het)normative scripts around dating but I haven't managed to detangle everything myself and would love to hear your take on it. I don't think it matters but I'm a queer non-binary person :) Whatever happens to this question, thanks for taking the time to read it." Fear of missing out, let's explore that What is fear and what are we fearing? Are we fearing an emotion, such as sad (or even joy)? What would it mean to feel a sadness of missing out? What would that do? Sadness, loss, a reduced capacity to act. How can we organise our relationships so that it's abundant? If we're doing abundant relating, we're doing win win relating. There is no missing out. ‘Making polyamory work for you' Abundant relating examples and how they might be rhizomatic Perhaps we also should question the binary around ‘doing the thing' = good, not doing the thing = bad. What is the thing we're missing out on? We could all do with watching some more snooker I think. Do we have to experience everything our partner feels? Like Yoko and John? Duchamp's door might be a way for us to find a way to joy? What's the very first sign of a SOMO leading towards a place of JOMO. Or just, joy? https://megjohnandjustin.com/relationships/staying-with-feelings-in-relationships/ https://loveuncommon.com/2019/09/20/taking-your-emotional-temperature/

In this episode, we dig into Gerhard Richter's lifetime of painting and his incursions in more conceptual works. We visited his first exhibition at David Zwirner, London, where we discovered drawings, paintings, mirror works and much more. Our research led us to his beginnings in Dresden and Düsseldorf, in post war GDR and Western Germany. What is fascinating is how the photographic image is the guiding light in his relation to trauma, to history, to the present but most of all, to painting. Pop Art, Abstract Expressionism, Duchamp, all had an impact on Richter who nevertheless built his own path in the always menaced painting genre throughout the end of the century. Indeed, how many times was painting declared dead in the 20th century?! Too many to count.We kept our relation to Richter's work personal and fluid (Emily even got to do some reading), as there are so many sources out there for further information, amongst which: the catalogue raisonné published in 2022 by Hatjze Cantz; the Richter Interviews published in 2019 by Heni Publishing; and much more, which you can find here: https://gerhard-richter.com/en/literatureInfo about the exhibition:https://www.davidzwirner.com/exhibitions/2024/gerhard-richterYou can also explore Richter's website:https://gerhard-richter.com/en/Music: Sarturn

(01:21) Deze week reed een Israëlische organisatie met vrachtwagens vol hulpgoederen richting Gaza. Wat voor plek is er in Israël nog voor dit soort organisaties en welke positie hadden dit soort groepen eerder? Te gast is over dit onderwerp is Peter Malcontent. (16:10) Het wordt gezien als hét voorbeeld van de moderne kunst: het wereldberoemde urinoir met handtekening van kunstenaar Marcel Duchamp. Maar was hij wel de echte bedenker? Regisseur Barbara Visser maakte de documentaire 'Alreadymade' hierover en is te gast. (27:15) De column is van Nelleke Noordervliet. (31:07) ‘De achilleshiel van de NAVO', dat is de bijnaam voor de Suwałki-corridor die Wit-Rusland en Rusland met elkaar verbindt. Wat is de geschiedenis van dit gebied? En hoe werkt deze door in het heden? Mark Middel bezocht onlangs het gebied en is te gast. (42:39) Nadia bespreekt een tentoonstelling en twee boeken: · De tentoonstelling Frans Hals van het Rijksmuseum · Steven Nadler – De portretschilder: Frans Hals en zijn wereld · Varian Fry – Vluchtoord Marseille Meer info: https://www.vpro.nl/programmas/ovt/luister/afleveringen/2024/10-03-2024.html (https://www.vpro.nl/programmas/ovt/luister/afleveringen/2024/10-03-2024.html)

Het wordt gezien als hét voorbeeld van de moderne kunst: het massa-geproduceerde urinoir dat met handtekening van kunstenaar Marcel Duchamp onder de naam Fountain wereldberoemd werd. Maar rond deze befaamde pisbak uit 1917 bestaan allerlei mythes: ook Dada-artiest barones Elsa von Freytag-Loringhoven zou de bedenker kunnen zijn. Over deze mysterieuze geschiedenis gaat de documentaire Alreadymade, die vanaf deze week in de bioscoop te zien is. Regisseur Barbara Visser is te gast en vertelt over de film en de bak.

Marcel Duchamp liked to portray himself as a rebel and an outsider courting controversy. While he was bold and pushing boundaries, he also came from a family of artists and he served as an advisor to the likes of Peggy Guggenheim and MoMA. Two of Duchamp's best known pieces were Nude Descending a Staircase 2 and Fountain. Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, the guys dive into the mailbag, deal with some burrs, and interview Alexandre Duchampyou can find Alex here on facebook: https://www.facebook.com/alexandre.duchamp.96or on instagram as @maschinen_heimatYou can find some of Alex's work under the episode album on the Sprue Cutters Union Facebook page https://www.facebook.com/spruecuttersuyou can contact the show at spruecuttersunion@gmail.comPlease support our sponsorshttps://anyz.iohttp://tetramodel.comhttps://scalemodeller.com.auhttps://insidethearmour.comhttps://www.hypersonicmodels.com/Check out all the great modelling podcasts at http://Modelpodcasts.comPlease do check out Chris's other podcast at https://modelsfromukraine.buzzsprout.com/And his new bloghttps://modelphilosopher.com/Support the show

Emily McElwreath is equipped with over seventeen years of experience as an adviser, independent curator and art educator; she also boasts a background in sales. Thanks to her time as Director of Communications and Education at the Brant Foundation Art Study Center, Emily demonstrates the unique ability to understand the art world from both the point of view of the artist and the audience. This skill is continually perfected through extensive involvement in art education: throughout her career, Emily has organized multiple programs, lectures, and panels, featuring distinguished artists, on university campuses and leading NYC venues, in addition to lecturing herself at Sotheby's Education. Emily has worked on blockbuster exhibitions including Andy Warhol, Julian Schnabel and Nate Lowman at The Brant Foundation, as well as lecturing at top NYC museums including The Whitney and The Metropolitan Museum of Art. Most recently, Emily has curated multiple exhibitions with leading emerging artists and is now host and CEO of The Art Career Podcast. Building relationships with artists continues to be Emily's main focus, frequenting studio visits, connecting artists with collectors, and building partnerships within the art community. With an MA from Purchase College in Art History with a Concentration in Contemporary Art Criticism and an Art Business Certification from Christie's Education, Emily McElwreath possesses diverse, real-world experience and formal academic training.Eileen Myles on the Art Career Podcast---Support TBAS by becoming a patron!!!! - https://www.patreon.com/bestadviceshow---Call Zak with your advice @ 844-935-BEST---IG: @bestadviceshow & @muzacharyTWITTER: @muzacharybestadvice.show