Podcasts about Eisenstein

durée : 00:22:49 - par : Lionel Esparza - En avril 1955 à Londres, Herbert von Karajan enregistre La Chauve-souris de Johann Strauss avec le Philharmonia Orchestra, Elisabeth Schwarzkopf en Rosalinde et Nicolai Gedda en Eisenstein. - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:22:49 - par : Lionel Esparza - En avril 1955 à Londres, Herbert von Karajan enregistre La Chauve-souris de Johann Strauss avec le Philharmonia Orchestra, Elisabeth Schwarzkopf en Rosalinde et Nicolai Gedda en Eisenstein. - équipe : Flora Sternadel Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Lisa Fevral:https://www.youtube.com/channel/UCJdvK5wMriowQqbGC7G0lDAhttps://twitter.com/LisaFevralhttps://www.instagram.com/lisafevral/ This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit lisafevral.substack.com

Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic ‘shock therapy’ and the way that Trumpism models the concept of ‘shock doctrine’, they move onto modern art’s relationship with the ‘shock of the new’, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support

Jem, Nadia and Keir apply their weird-left lens to the power and potential of shock. Starting with an investigation into economic shock therapy and the way that Trumpism models the concept of shock doctrine, they move onto modern art’s relationship with the shock of the new, from Dada and Eisenstein to gangsta rap and radio shock jocks. Can you acclimatise yourself to shock either through repetition or training? Can shock be commodified? What other shocks are coming down the pipeline? These ideas and more with musical input from Kylie, Herbie Hancock and Stravinsky. Find the books and music mentioned in the show: https://novara.media/acfm Sign up to the ACFM newsletter: https://novaramedia.com/newsletters Follow our ever-expanding playlist on Spotify by searching ‘ACFM’. Help us build people-powered media: https://novara.media/support

I've had a real urge lately to revisit the voices and careers of some of my favorite tenors. So today I bring you the exceptional American artist Charles Kullman (1903 – 1983). The early years of his career were spent primarily in Berlin and Vienna, but for twenty-five years beginning in 1935, he was also a mainstay at the Metropolitan Opera, where he sang a total of 33 different roles. The sheen and spin on his lyric voice, allied to a firm technique, allowed him sing everything from Rinuccio and Fenton to Tannhäuser and Herodes (and nearly everything else in between!) During his European years, he made a number of invaluable recordings, including opera and operetta arias as well as songs from a number of popular films in which he starred. Though he recorded only one complete operatic role in the studio (Eisenstein in Die Fledermaus in 1951), there exist a large number of choice live stage performances that allow us to more fully explore the full length (and variety) of Kullman's performing career. In this episode, we not only hear excerpts from those early German recordings, but also from live performances of Das Lied von der Erde, Meistersinger, Manon, Traviata, Fledermaus, and Montemezzi's monumental L'amore dei tre re, some of which feature recent Countermelody divas Licia Albanese, Regina Resnik, and Bidú Sayão. Some aficionado or other has dubbed Kullman “the compleat tenor” and I couldn't agree more. Enjoy getting better acquainted with this great singer! Countermelody is the podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and author yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Our Special Subject for this month is The Archers in Black and White: A Canterbury Tale (1944), I Know Where I'm Going! (1945), and The Small Back Room (1949). We discuss Powell and Pressburger's interest in the claims and sins of tradition and modernity, their handling of intense romantic relationships, and their search for transcendence in nature and the past. Then, in Fear and Moviegoing in Toronto, we briefly discuss the films we saw at the 2026 Toronto Silent Film Festival, including the 1926 Beau Geste with Ronald Colman, Chaplin's The Kid (1921), Garbo and Gilbert in (Edmund Goulding's) Love (1927), Eisenstein's nightmarish Strike (1925), and Lewis' Milestone's romantic comedy The Garden of Eden (1928).  Time Codes: 0h 00m 25s:    A CANTERBURY TALE (1944) [dirs.. Michael Powell & Emeric Pressburger] 0h 26m 31s:    I KNOW WHERE I'M GOING (1945) [dirs.. Michael Powell & Emeric Pressburger] 0h 42m 28s:    THE SMALL BACK ROOM (1949) [dirs.. Michael Powell & Emeric Pressburger] 0h 58m 31s:    Fear and Moviegoing in Toronto – 2026 Toronto Silent Film Festival – Herbert Brenon's Beau Geste (1926), Charlie Chaplin's The Kid (1921), Edmund Goulding's Love (1927), Sergei Eisenstein's Strike! (1925) and Lewis Milestone's The Garden of Eden (1928); also: Laurel and Hardy in Brats (1930), Baby Peggy in Peg o' the Mounted (1924) and the Lumière Brothers' Aroseur et arosée (1896) +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: "Sunday" by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – "Making America Strange Again" * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Professor Alejandro Luis Madrid is the Walter W. Naumburg Professor of Music at Harvard University. He is a cultural theorist of sound and music working in Latin American and Latinx studies. Among other honors, he has received the Humboldt Research Award, the Guggenheim Fellowship, the Dent Medal, the Premio de Musicología Casa de las Américas, and awards from the American Musicological Society, the Latin American Studies Association, ASCAP, IASPM, and the Society for Ethnomusicology. Professor Madrid is sought after as an expert commentator by national and international media outlets, including Time Magazine, The New York Times, The Washington Post, Agence France-Presse, the BBC, Public Radio International, and Radio Uruguay (SODRE). He acted as music advisor to Welsh filmmaker Peter Greenaway, whose movie, Eisenstein in Guanajuato, is set in early 1930s Mexico.In today's conversation, we discuss his latest monograph, The Archive and the Aural City. Sound, Knowledge, and the Politics of Listening (Duke University Press, 2025) where he examines sound archives and the production and circulation of knowledge at the aural turn. 

Capital campaigns sound exciting—big vision, big gifts, big impact. But they're also one of the most misunderstood parts of fundraising.In this episode, I sat down with my friend Amy Eisenstein, CEO and co-founder of Capital Campaign Pro, to talk about what a capital campaign actually is, how to know if your organization is ready, and why planning matters far more than people realize.If you've ever wondered whether your nonprofit should launch a campaign—or worried it might cannibalize your annual fund—this conversation is for you.Important Links:Connect with Amy: https://www.linkedin.com/in/amyeisensteinacfre/ Capital Campaign Pro: https://capitalcampaignpro.com/ Webinar: https://go.rheawong.com/donorjourneyauditwebinar-2026 Book a Call: https://connect.rheawong.com/ My Big Ask Gifts Program: ⁠https://go.rheawong.com/big-ask-gifts-program⁠ My Book, Get That Money Honey: ⁠https://go.rheawong.com/get-that-money-honey⁠ My Newsletter: ⁠https://www.rheawong.com/⁠ 

For Civility Certified, I worked with three sources. The first is Martin Luther's 95 Theses from 1517. Luther posted his propositions to the church door at Wittenberg, demanding that the institution admit what it was doing - selling salvation, monetizing grace, creating a credential system for the afterlife. The structure of numbered propositions, posted to the institutional door, demanding accountability - that form echoes throughout this novella. There is a character who writes theses. The institution does not welcome them. The second source is Jefferson Davis's address to the Confederate Congress in 1861. This gave me the rhetorical DNA of exclusion dressed as protection. Davis spoke of voluntary participation, states' rights, procedural legitimacy - all while encoding slavery into the constitutional fabric of the Confederacy. The Civic Trust & Access Authority in my novella speaks in that register. It promises safety. It delivers sorting. The third source is Sergei Eisenstein's Battleship Potemkin from 1925 - specifically, his theoretical writings on dialectical montage. Eisenstein believed that meaning emerges from the collision of images, that the audience assembles truth from fragments. This novella works the same way. You receive documents out of sequence. You reconstruct causation. You become complicit in the interpretation. Three sources. Three different centuries. Three different forms of institutional power confronting individual resistance. And from their collision, a new story emerges - one that feels disturbingly contemporary.

BIBLIOTECA SUBMERSA é a nova série de episódios do Podcast da Raphus Press, uma ironia bastante séria com o conceito de canônico e marginal, de popular e elitista, de aceito e não aceito, a partir das obras de autores que, aparentemente, tinham alguma influência (ou relevância) de certas obras ou autores no passado e que, hoje, parecem ausentes das livrarias, cadernos culturais, canais de vídeo na Internet. Nossa inspiração é Jorge Luis Borges e uma conhecida citação de Virginia Woolf: “Livros usados são selvagens, destituídos; surgem em grandes bandos de penas variadas e possuem certo encanto que falta aos volumes domesticados de uma biblioteca.”Episódio de hoje: Uma biblioteca no mundo (sobre “A biblioteca infinita de Serguei Eisenstein”)Obras citadas: “A biblioteca infinita de Serguei Eisenstein”, Neide Jallageas e Erivoneide Barros (Orgs.) (Kinoruss, 2025); “Memórias Imorais: Uma Autobiografia”, Serguei Eisenstein (Companhia das Letras, 1987).O livro “A biblioteca infinita de Serguei Eisenstein” pode ser adquirido em: https://www.kinoruss.com.br/a-biblioteca-infinita-de-eisenstein Conheça “O Outro Lado” e apoie a campanha “late pledge”: https://www.catarse.me/outrolado_latepledge Entre para a nossa sociedade, dedicada à bibliofilia maldita e ao culto de tenebrosos grimórios: o RES FICTA (solicitações via http://raphuspress.weebly.com/contact.html).Nosso podcast também está disponível nas seguintes plataformas:- Spotify: https://open.spotify.com/show/4NUiqPPTMdnezdKmvWDXHs- Apple: https://podcasts.apple.com/us/podcast/podcast-da-raphus-press/id1488391151?uo=4- Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMDlmZmVjNC9wb2RjYXN0L3Jzcw%3D%3D Apoie o canal: https://apoia.se/podcastdaraphus.Ou adquira nossos livros em nosso site: http://raphuspress.weebly.com. Dúvidas sobre envio, formas de pagamento, etc.: http://raphuspress.weebly.com/contact.html.Nossos livros também estão no Sebo Clepsidra: https://seboclepsidra.lojaintegrada.com.br/buscar?q=Raphus+Press

Rehabilitating Ivan the Terrible: Colleague Geoffrey Roberts reports that Stalin favored the narrative history of Robert Vipper, who rehabilitated Ivan the Terrible as a state-builder rather than a cruel tyrant; Stalin criticized Eisenstein's film sequel for portraying Ivan as weak, insisting Ivan's terror was a necessary defense of the state, a view justifying Stalin's own purges. 1945

An Imaginary Cinema: Sergei Eisenstein and the Unrealized Film (Cornell UP, 2024) explores the unfinished cinematic projects developed and abandoned by Soviet filmmaker Sergei Eisenstein between 1927 and 1937. Centred on seven major film concepts, the book examines what it means for a work of art—particularly a film—to remain unfinished or unrealised, and how these projects fit within Eisenstein's broader theoretical and practical framework. Offering unique insight into the history of film production in Stalinist Russia, An Imaginary Cinema contrasts Eisenstein's experiences with both the Soviet film industry and Hollywood, and considers the technological transitions that shaped early cinema. 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

An Imaginary Cinema: Sergei Eisenstein and the Unrealized Film (Cornell UP, 2024) explores the unfinished cinematic projects developed and abandoned by Soviet filmmaker Sergei Eisenstein between 1927 and 1937. Centred on seven major film concepts, the book examines what it means for a work of art—particularly a film—to remain unfinished or unrealised, and how these projects fit within Eisenstein's broader theoretical and practical framework. Offering unique insight into the history of film production in Stalinist Russia, An Imaginary Cinema contrasts Eisenstein's experiences with both the Soviet film industry and Hollywood, and considers the technological transitions that shaped early cinema. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

An Imaginary Cinema: Sergei Eisenstein and the Unrealized Film (Cornell UP, 2024) explores the unfinished cinematic projects developed and abandoned by Soviet filmmaker Sergei Eisenstein between 1927 and 1937. Centred on seven major film concepts, the book examines what it means for a work of art—particularly a film—to remain unfinished or unrealised, and how these projects fit within Eisenstein's broader theoretical and practical framework. Offering unique insight into the history of film production in Stalinist Russia, An Imaginary Cinema contrasts Eisenstein's experiences with both the Soviet film industry and Hollywood, and considers the technological transitions that shaped early cinema. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

An Imaginary Cinema: Sergei Eisenstein and the Unrealized Film (Cornell UP, 2024) explores the unfinished cinematic projects developed and abandoned by Soviet filmmaker Sergei Eisenstein between 1927 and 1937. Centred on seven major film concepts, the book examines what it means for a work of art—particularly a film—to remain unfinished or unrealised, and how these projects fit within Eisenstein's broader theoretical and practical framework. Offering unique insight into the history of film production in Stalinist Russia, An Imaginary Cinema contrasts Eisenstein's experiences with both the Soviet film industry and Hollywood, and considers the technological transitions that shaped early cinema. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/russian-studies

An Imaginary Cinema: Sergei Eisenstein and the Unrealized Film (Cornell UP, 2024) explores the unfinished cinematic projects developed and abandoned by Soviet filmmaker Sergei Eisenstein between 1927 and 1937. Centred on seven major film concepts, the book examines what it means for a work of art—particularly a film—to remain unfinished or unrealised, and how these projects fit within Eisenstein's broader theoretical and practical framework. Offering unique insight into the history of film production in Stalinist Russia, An Imaginary Cinema contrasts Eisenstein's experiences with both the Soviet film industry and Hollywood, and considers the technological transitions that shaped early cinema. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this episode of Wild Rivers Film Radio, hosts Sue Wright and Ozy Pops sit down with filmmaker Eric Eisenstein to talk about his short film, Blueberries. Eric shares the motivation for this project and the process of creating a film in a forty-day film competition. The conversation weaves together concept development, writing, casting, shooting, […]

In this episode of The Responsive Lab, hosts Carly Berna and Scott Holthaus sit down with capital campaign expert Amy Eisenstein of Capital Campaign Pro to demystify one of the most ambitious and often misunderstood fundraising tools in a nonprofit's playbook: the capital campaign. Amy shares her journey from development director to co-founder of a firm that has guided hundreds of organizations through campaigns ranging from $3M to $150M. You'll learn the key elements of a successful campaign, including when to launch, who should consider one, how to engage donors, and why feasibility studies aren't about saying “no,” they're about choosing the right path forward. This episode includes practical advice, like: Why your internal team shouldn't carry a campaign alone How feasibility studies help you plan, not pause What stewardship looks like during a multi-year fundraising effort How technology can reduce burnout and elevate donor engagement Why donor joy and fundraisers' happiness habits matter in long campaigns Links from the episode: Listen to the All About Capital Campaigns podcast Learn more about Capital Campaign Pro Learn more about Virtuous at virtuous.org/learnmore and download your free Nonprofit CRM Checklist at virtuous.org/crmchecklist

Darshali Vyas is a pulmonary and critical care fellow at Massachusetts General Hospital. Stephen Morrissey, the interviewer, is the Executive Managing Editor of the Journal. D.A. Vyas, L.G. Eisenstein, and D.S. Jones. The Race-Correction Debates — Progress, Tensions, and Future Directions. N Engl J Med 2025;393:1029-1036.

Charles Eisenstein (born 1967) is an American public speaker, author, and activist. His books include The Ascent of Humanity, Sacred Economics, and The More Beautiful World Our Hearts Know is Possible.Eisenstein's work covers a wide range of topics, including the history of human civilization, economics, spirituality, and the ecology movement. Key themes explored include anti-consumerism, interdependence, and how myth and narrative influence culture. According to Eisenstein, global culture is immersed in a destructive "story of separation", and one of the main goals of his work is to present an alternative "story of interbeing". Much of his work draws on ideas from Eastern philosophy, the spiritual teachings of various indigenous peoples, and New Age themes.https://charleseisenstein.org

Charles Eisenstein (born 1967) is an American public speaker, author, and activist. His books include The Ascent of Humanity, Sacred Economics, and The More Beautiful World Our Hearts Know is Possible.Eisenstein's work covers a wide range of topics, including the history of human civilization, economics, spirituality, and the ecology movement. Key themes explored include anti-consumerism, interdependence, and how myth and narrative influence culture. According to Eisenstein, global culture is immersed in a destructive "story of separation", and one of the main goals of his work is to present an alternative "story of interbeing". Much of his work draws on ideas from Eastern philosophy, the spiritual teachings of various indigenous peoples, and New Age themes.https://charleseisenstein.org

On this break episode of Floating Through Film, the guys are coming back to a new series we started called FTF Theory where we try to discuss some film theory/criticism. This week we're going through one of Eisenstein's famous essay's on cinema that he wrote in 1920, 'Methods of Montage'. The conversation also lead to a deeper discussion on the concept of montage generally and how its perception has changed over time. We then conclude by reviewing Eisenstein's 1925 classic film, Battleship Potemkin (1:26:29). We hope you enjoy!Episode Next Week: The Phoenician Scheme + Top 5 Wes Anderson MoviesMusic:- Intro: Early Summer- Outro: Ivan the Terrible (https://www.youtube.com/watch?v=p4AP_tjQCHs&list=PLh53GQtLtOqIa6Vo-AyuXE6_E4YstIu1_&index=1&ab_channel=TuganSokhiev-Topic)Hosts: Luke Seay (LB: https://letterboxd.com/seayluke/, Twitter: https://x.com/luke67s)Blake Tourville (LB: https://letterboxd.com/blaketourville/, Twitter: https://x.com/vladethepoker)Dany Joshuva (LB: https://letterboxd.com/djoshuva/, Twitter: https://x.com/grindingthefilm)Podcast Links Spotify and Apple: https://linktr.ee/floatingthroughfilmLetterboxd: https://letterboxd.com/floatingfilm/Email: floatingthroughfilm@gmail.com

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What if a capital campaign could be your nonprofit's ticket to long-term growth? Fundraising expert Amy Eisenstein joins the podcast to bust common myths and share practical insights from decades of experience. From feasibility studies to board engagement, she lays out what it really takes to run a successful campaign—no wealthy board members required.

Conheça o meu novo canal: História e Cinema!https://www.youtube.com/watch?v=CxRhBySgz7sUma das maiores indústrias do mundo moldou opiniões, espalhou ideologias e fez a gente chorar ao decorrer da sua história. Separe trinta minutos do seu dia e aprenda com o professor Vítor Soares (@profvitorsoares) sobre o que foi a História do Cinema.-Se você quiser ter acesso a episódios exclusivos e quiser ajudar o História em Meia Hora a continuar de pé, clique no link: www.apoia.se/historiaemmeiahoraConheça o meu canal no YouTube, e assista o História em Dez Minutos!https://www.youtube.com/@profvitorsoaresOuça "Reinaldo Jaqueline", meu podcast de humor sobre cinema e TV:https://open.spotify.com/show/2MsTGRXkgN5k0gBBRDV4okCompre o livro "História em Meia Hora - Grandes Civilizações"!https://a.co/d/47ogz6QCompre meu primeiro livro-jogo de história do Brasil "O Porão":https://amzn.to/4a4HCO8Compre nossas camisas, moletons e muito mais coisas com temática História na Lolja!www.lolja.com.br/creators/historia-em-meia-hora/PIX e contato: historiaemmeiahora@gmail.comApresentação: Prof. Vítor Soares.Roteiro: Prof. Vítor Soares e Prof. Victor Alexandre (@profvictoralexandre)REFERÊNCIAS USADAS:- BAZIN, André. O que é o cinema? São Paulo: Perspectiva, 2014.- BORDWELL, David; THOMPSON, Kristin. A arte do cinema: uma introdução. São Paulo: Martins Fontes, 2013.- COSTA, Antonio da. História do cinema mundial. Lisboa: Edições 70, 2011.- EISENSTEIN, Sergei. A forma do filme. São Paulo: Perspectiva, 2002.- KRACAUER, Siegfried. Teoria do filme: a redenção da realidade física. Campinas: Papirus, 2001.- MONACO, James. Como ver um filme. São Paulo: WMF Martins Fontes, 2010.- ROCHA, Glauber. Revolução do Cinema Novo. São Paulo: Cosac Naify, 2003.

The Shmuze - Rabbi Chaim Eisenstein - Pre-Shavuot Chizuk by Shapell's Rabbeim

en este episodio de Dirección Coral Online te cuento cómo la colaboración entre Eisenstein y Prokofiev en Alexander Nevsky se convirtió en un hito del cine y la música coral, exploramos el montaje como lenguaje musical, los desafíos de la filmación, la creación conjunta de la partitura, su transformación en cantata y cómo los vaivenes políticos de la Segunda Guerra Mundial impactaron en la película y en la vida del propio Eisenstein.anotate en mi newsletter gratuita: https://www.dopplerpages.com/gusespada-D9EA4/Form6-62234

Sergei Eisenstein's Battleship Potemkin tells a very complete story in only about 70 minutes. The black-and-white, silent flick is based on a real-life mutiny aboard a ship in the waters of the Black Sea near Ukraine. Of course, the incredibly influential Odessa Steps sequence is what people remember best...and it's the extremely violent result of this "war" against your own oppressive rulers. Eisenstein made one of the greatest Russian motion pictures ever here, but the storytelling and modern-feeling technical achievements (especially the editing) make this far more than just a old Communist propaganda film. So don't just hang out in your hammock below-deck and starve on a government boat. No, rise up, comrades, and devour the 664th edition of Have You Ever Seen, the one about Battleship Potemkin. Canadians and Americans (not Russian or Ukrainian residents, unfortunately) can order Sparkplug Coffee and get a onetime 20% discount. Use our "HYES" promo code to achieve that. The website is "sparkplug.coffee/hyes". Subscribe to Have You Ever Seen for weekly classic movie reviews. Rate our show and write a review about it in your app too. And look for us on YouTube (@hyesellis in the search bar). Communication options? One is email (haveyoueverseenpodcast@gmail.com). Another is social media: ryan-ellis and @bevellisellis on Bluesky...@moviefiend51 and @bevellisellis on Twi-X.

Apoya al Podcast como FAN de Terraescribiente en IVOOX o en PATREON y escucha todos los audios sin Restricción! Bienvenidos un episodio de "Crítica y Resumen" en TERRAESCRIBIENTE. Hoy tenemos la cuarta novela de la miserable Herejía de Horus: "LA HUIDA DE LA EISENSTEIN: La Herejía se Extiende" HH Libro 4. Escucha el Resumen y la Crítica literaria de esta novela de Dan Abnett. Crítica y Resumen: MAC (Terraescribiente) Por favor sigue y suscríbete a las siguientes redes: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Escucha el audilibro completo en: Patreon: patreon.com/Terraescribiente Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

En este episodio de La Cinemafia, tenemos el honor de conversar con Luis Alberti, reconocido actor mexicano conocido por su papel como Brandon López Morales en Rosario Tijeras y recientemente como el capitán Armando Guerrero en Contraataque, disponible en Netflix. ​ A través de nuestro formato de "Cinegrafía", exploramos los gustos y experiencias cinematográficas de Luis, descubriendo las películas y directores que han influido en su carrera y vida personal. Desde sus inicios en el cine con películas como La jaula de oro y Eisenstein en Guanajuato, hasta su premiada actuación en Mano de obra, que le valió el Ariel al Mejor Actor en 2020, Luis comparte anécdotas y reflexiones sobre el séptimo arte.​ Acompáñanos en esta íntima conversación para conocer más sobre las inspiraciones y preferencias cinematográficas de Luis Alberti, y cómo estas han moldeado su destacada trayectoria en la actuación. Síguenos en:YouTube: La CinemafiaInstagram: @lacinemafia, @lachicaalmodovar, @anuarac1Producido y Distribuido por Genuina Media babbel.com/CINEMAFIA

“We should note the force, effect, and consequences of inventions which are nowhere more conspicuous than in those three which were unknown to the ancients, namely printing, gunpowder and the compass. For these three have changed the appearance and the state of the world.” wrote Francis Bacon in 1620. And almost everybody agreed.Printing changed everything, but how exactly did it change everything? That is a question nobody posed properly until Elisabeth L. Eisenstein got on the academic stage in the 1970s and the debate has not yet stopped. In this episode I will try to take you through some of Eisenstein's ideas on the how of the change and, in the end, attempt a raincheck on what we can learn from it for the information revolution we are living through right now. No worries, this is still the History of the Germans, so we will talk facts and dates and processes, with only occasional attempts at breaking into the ivory tower…The music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season. So far I have:The Ottonians Salian Emperors and Investiture ControversyFredrick Barbarossa and Early HohenstaufenFrederick II Stupor MundiSaxony and Eastward ExpansionThe Hanseatic LeagueThe Teutonic KnightsThe Holy Roman Empire 1250-1356The Reformation before the...

Join hosts Jason, Tony, and our new co-host, Paul, on Episode One of Season Two! On this episode we discuss Sergei Eisenstein's epic two-part Soviet masterpiece Ivan the Terrible, released in 1945 and 1958 respectively. The films were commissioned by Joseph Stalin in 1941 as a means to rehabilitate Ivan the Terrible's image for a contemporary Soviet audience. Stalin celebrated Part 1, but the state banned Part 2. A third part had been in the works, but was abandoned by Eisenstein after the suppression of the second part. Our discussion touches on this history and many other topics, including Soviet montage, dialectical art construction, Eisenstein's queerness, his fraught relationship with Stalin, and more.  This is the first episode of a new format in which we take book or movie recommendations from each of us, which are found below:  Tony's book recommendations: Sergei Eisenstein: A Life in Conflict by Ronald Bergan (2016) Narrative, Apparatus, Ideology, edited by Philip Rosen (1986) Film Form: Essays in Film Theory by Sergei Eisenstein (1949) Paul's book and film recommendations: This Thing of Darkness: Eisenstein's Ivan the Terrible in Stalinist Russia by Joan Neuberger (2019) Ivan the Terrible by Joan Neuberger  Battleship Potemkin (1925; dir. Sergei Eisenstein) Jason's movie recommendations: Come and See (1985; dir. Elem Klimov)  The Ascent (1977; dir. Larisa Shepitko)  Wings (1966; dir. Larisa Shepitko)  Please subscribe to the podcast, and don't forget to leave a review! Follow Jason on Twitter at @JasonAChristian and Anthony at @tonyjballas; follow Paul on BlueSky at @ptklein.com. Paul writes about movies at www.howtoreadmovies.com. Paul's handle on Letterboxd is https://letterboxd.com/ptklein/; Jason's is https://letterboxd.com/exilemagic/.  Our logo is by Jason Christian  The theme music for this episode and all forthcoming episodes is by DYAD (Charles Ballas and Jeremy Averitt).  Please drop us a line anytime at coldwarcinemapod@gmail.com. Happy listening!  

Apoya al Podcast como FAN de Terraescribiente en IVOOX o en PATREON y escucha todos los audios sin Restricción! Bienvenidos un episodio de "Crítica y Resumen" en TERRAESCRIBIENTE. Hoy tenemos la cuarta novela de la Herejía de Horus: "LA HUIDA DE LA EISENSTEIN La Herejía se Extiende" HH Libro 4. Escucha el Resumen y la Crítica literaria de esta novela de James Swallow. Crítica y Resumen: MAC (Terraescribiente) Por favor sigue y suscríbete a las siguientes redes: Canal de Whatsapp: https://whatsapp.com/channel/0029VaCcO2s1NCrQqLpfFR3u Escucha el audilibro completo en: Patreon: patreon.com/Terraescribiente Twitter: https://twitter.com/TerraEscriba Telegram: https://t.me/+62_TRJVg-3cxNDZh Instagram: www.instagram.com/terraescribiente/ Tik tok: www.tiktok.com/@terraescribiente Youtube: www.youtube.com/@Terraescribiente También subscríbete a TERRAESCRIBIENTE en ITUNES Y SPOTIFY! Dale me gusta a cada Podcast y coméntalos! Ayuda mucho! Gracias!

1925: El Acorazado Potemkin y La quimera del oro Miremos hacia atrás. Cien años. Mil novecientos veinticinco fue y será siempre un año extraordinario y determinante para el cine. Ese mismo año estrenaron en el mundo El acorazado Potemkin y La quimera del oro. La primera, obra del realizador soviético Sergei Eisenstein, es un ejemplo claro del poder del lenguaje cinematográfico y de cómo su ejercicio es un arte en sí. Mucho se debate sobre si es la obra cumbre de Eisenstein, pero tenemos claro que es una película que se ha estudiado, se estudia y se seguirá haciendo en escuelas, cursos y talleres de cine de todo el mundo. La segunda es la película que el británico Charlie Chaplin escribió, dirigió y protagonizó para unir en una sola historia, un western atípico pero ejemplar, a la tragedia y a la comedia. Se trata de una historia que también eleva al lenguaje del cine al nivel de arte puro. Pero también y a su manera, muestra algunas grietas peligrosas del sueño americano. Dos obras cumbre del cine se estrenaron hace cien años: El acorazado Potemkin y La quimera del oro. Para comentarlas desde el amor puro que tenemos al cine invitamos a este episodio al crítico Sergio Huidobro, profesor cinematográfico, tallerista y amigo de Cinegarage. Learn more about your ad choices. Visit megaphone.fm/adchoices

Join us this week for our latest installment of the Modern Class of Casting Visionaries with the fabulous Casting Director, Neely Eisenstein!Over the past 10 years, Neely has cast nearly 30 films including the coming-of-age movie, SNACK SHACK written and directed by Adam Rehmeier, rom-com PLUS ONE starting Jack Quaid and Maya Erskine, and the Sundance favorite, EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE starring Zac Efron. In this episode we dive in with Neely discussing...-Her unconventional start in casting that all stared with the toy industry-Her love of theatre -We sidetrack into how Shakespeare is having a resurgence in -Her outlook on how the industry was when she started all through how she sees it looking in the near future-The problems we as CDs are running into dealing with lack of willingness with agents to participate in helping to attach talent to Indies-How we can try to bridge gaps and get back on the right road -Diving into some current awards season controversy from the SAG awards to the BAFTAS and the casting awards being awarded to people who are not in casting-How amazing it is to be back in the room for casting sessions and how it “fills our cup right up”-Neely tells us what her favorite projects were to castMake sure to subscribe, rate and review! Follow us @tipsycastingResources: Neely's IMDB────────────────────────────⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting Journeys ⁠⁠⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠⁠

When you don't use a muscle or a skill, it's a well-known fact that atrophy inevitably sets in. To improve oneself, an active effort must be made to ensure progress. But what happens with the advent of AI, designed to make things easier? What implications will this have on the cognitive processes that require continuous refinement? In this thought-provoking episode of The Great Indoors, host Matthew Roberts speaks with renowned author and philosopher, Charles Eisenstein, about the evolving role of technology and its impact on aspects of our lives that were once firmly rooted in the tangible. They delve into the core concepts of Eisenstein's work, including Sacred Economics, and discuss the far-reaching implications of replacing the real with the digital. Through engaging anecdotes and philosophical reflections, Charles challenges us to reconnect with the material world, nurture authentic relationships, and consider why oral storytelling may become the future's most reliable tool for building trust. With increasing domination from ones and zeros, it's time to explore the possibilities of a more beautiful and connected world.

Chapter 1 What's Ghosted by Jana Eisenstein by Jana Eisenstein"Ghosted" by Jana Eisenstein is a captivating narrative that explores the complexities of modern relationships through the lens of ghosting—a phenomenon where one person abruptly cuts off all communication with another. The story follows the life of its protagonist as she navigates the emotional turmoil of being ghosted, reflecting on her experiences with love, loneliness, and self-discovery. Through her journey, Eisenstein weaves themes of vulnerability and resilience, showcasing how such dismissals can impact one's self-worth and interpersonal connections. The writing is both poignant and relatable, inviting readers to empathize with the characters' struggles while pondering the growing prevalence of digital communication in shaping our intimate lives.Chapter 2 Ghosted by Jana Eisenstein by Jana Eisenstein Summary"Ghosted" by Jana Eisenstein is a contemporary romance novel that explores themes of love, loss, and the complexities of relationships in the modern age of technology. The story follows the protagonist, who finds herself reeling from the sudden disappearance of her romantic partner, leading her into a journey of self-discovery and healing. As she navigates the emotional turmoil of being 'ghosted,' the protagonist reflects on the red flags she overlooked and the impact of social media on her connection with her partner. The narrative delves into her struggles with loneliness and the difficulty of moving on, highlighting how ghosting affects mental health and personal growth.Throughout the book, readers are drawn into the protagonist's internal monologue as she confronts her feelings of rejection and seeks closure. Along the way, she develops friendships and rekindles old connections, which help her on her path to understanding her self-worth and the importance of open communication in relationships.Ultimately, "Ghosted" serves as a poignant reminder of the importance of vulnerability and the need for authentic connections in an increasingly disconnected world. The book blends emotional depth with relatable experiences, making it a compelling read for anyone who has faced the challenges of modern dating.Chapter 3 Ghosted by Jana Eisenstein AuthorJana Eisenstein is an emerging contemporary author known for her work in the literary fiction genre. She gained attention with her novel "Ghosted," which was released in 2022. The book explores themes of love, loss, and the complexities of human relationships against a backdrop of supernatural elements, captivating readers with both its emotional depth and intriguing plot.In addition to "Ghosted," Jana Eisenstein has written several other books, including:"Echoes of the Heart" (2020) A poignant representation of the struggles and triumphs of romance."Shadows of Yesterday" (2021) A compelling tale that dives into the past lives of its characters."Beneath the Surface" (2023) A more recent work that intertwines mystery and magical realism, showcasing her evolving style.As for which of her books is considered the best, "Ghosted" has received widespread acclaim and is often highlighted for its unique narrative and emotional resonance. Readers and critics alike appreciate its rich commentary on grief and moving on while dealing with haunting memories. In terms of editions, the hardcover edition of "Ghosted" has been particularly well-received for its quality and design, making it a favorite among collectors.Overall, Jana Eisenstein is an author to watch as she continues to develop her voice in the literary world, and her works are recommended for anyone interested in thought-provoking fiction.Chapter 4 Ghosted by Jana Eisenstein Meaning & ThemeGhosted by Jana Eisenstein Meaning"Ghosted" by Jana Eisenstein typically explores themes of abandonment, emotional distance, and the complexities...

The Good News I According to St. John:  In the beginning was the Logos, and the Logos was with God, and the Word was God.  He was in the beginning with God.  All things were made through Him, and without Him was not any thing made that was made. (1:1-2)   Genesis 1: 26a, 27-28a Then God said, “Let us make man in our image, after our likeness… So God created man in his own image, in the image of God created He him; male and female created He them. And God blessed them, and God said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it and rule...    SUBDUE?!  RULE?! Subdue into the pattern of the good, the beautiful and the true.   The Curse (expulsion from Eden) Using Beauty Against Itself? (the line of Cain) The End of the Good, Beautiful, and the True? (Nephalim etc.)   Genesis 9:1,7 And God blessed Noah and his sons, and said unto them, Be fruitful, and multiply, and replenish the earth... (every wild beast will dread you)... And you, be ye fruitful, and multiply; bring forth abundantly in the earth, and multiply therein.   Genesis 11 –  The Tower of Babel   The Restoration: Luke 3: 3-6 And he came into all the country about Jordan, preaching the baptism of repentance for the remission of sins;  As it is written in the book of the words of Esaias the prophet, saying, The voice of one crying in the wilderness, Prepare ye the way of the Lord, make his paths straight.  Every valley shall be filled, and every mountain and hill shall be brought low; and the crooked shall be made straight, and the rough ways shall be made smooth; And all flesh shall see the salvation of God. The Good News II According to St. John:  And the Logos become flesh and dwelt among us.  (1:14a) To all who received him, who believed in his name, He gave power to become children of God. (1:12) And according to St. Paul: In [Christ] you also, who have heard the word of truth, the gospel of your salvation, and have believed in him, were sealed with the promised Holy Spirit, which is the guarantee of our inheritance until we acquire possession of it, to the praise of his glory. (e.g. Ephesians 1:13-14).    St. Matthew 28:16-20 And Jesus came and spake unto them, saying, All power is given unto me in heaven and in earth. Go ye therefore, and teach all nations, baptizing them in the name of the Father, and of the Son, and of the Holy Spirit: Teaching them to observe all things whatsoever I have commanded you: and, lo, I am with you always, even unto the end of the world. Amen.   Beauty in Nature, Architecture, Art, Literature, Music, Fellowship, and THE GULAG?!   One Day in the Life of Ivan Denisovich   Gives insights into how people ended up in the Gulag This is really developed in the Gulag Archipelago  Ivan admitted that he surrendered to Germany to betray the USSR The young Gopchik gave milk to Ukrainian guerrillas The foreman was discharged for being the son of a kulak (SoanEotP) Some insights into the state of faith and religion in the USSR Corruption in the Russian Orthodox Church Faith of the peasant/redneck (represented by Ukrainian) Orthodox Faith and (beautiful) martyrdom of the Baptists One Day - On Beauty and Art (presages his essay) Two bookkeepers, also zeks, were toasting bread on the stove.  They'd rigged up a sort of wire griddle to keep it from burning. Tsezar was lolling at his desk, smoking his pipe.  He had his back to Shukhov and didn't see him.  Opposite him sat Kh-123, a wiry old man doing twenty years' hard.  He was eating gruel. "You're wrong, old man," Tsezar was saying, goodnaturedly.  "Objectively, you will have to admit that Eisenstein is a genius.  Surely you can't deny that Ivan the Terrible is a work of genius?  The dance of the masked oprichniki!  The scene in the cathedral!" Kh-123's spoon stopped short of his mouth. "Bogus," he said angrily.  "So much art in it that it ceases to be art.  Pepper and poppy seed instead of good honest bread.  And the political motive behind it is utterly loathsome — an attempt to justify a tyrannical individual.  An insult to the memory of three generations of the Russian intelligentsia!" (He was eating his gruel without savoring it.  It wouldn't do him any good.) "But would it have got past the censor if he'd handled it differently?" "Oh well, if that's what matters...  Only don't call him a genius — call him a toady, a dog carrying out his master's orders.  A genius doesn't adjust his treatment of a theme to a tyrant's taste." "Ahem!"  Shukhov cleared his throat.  He felt awkward, interrupting this educated conversation, but he couldn't just go on standing there. Tsezar turned around and held his hand out for the bowl, without even looking at Shukhov — the gruel might have traveled through the air unaided — then went back to his argument.  "Yes, but art isn't what you do, it's how you do it." Kh-123 reared up and chopped at the table with his hand. "I don't give a damn how you do it if it doesn't awaken good feelings in me!" Shukhov stood there just as long as he decently could after handing over the gruel, hoping Tsezar would treat him to a cigarette.  But Tsezar had entirely forgotten that Shukhov was behind him.  So he turned on his heel and left quietly. Never mind, it wasn't all that cold outside.  A great day for bricklaying. Walking down the path, he spotted a bit of steel broken off a hacksaw blade lying in the snow.  He had no special use for it right then, but you never knew what you might need later.  So he picked it up and slipped it into his trouser pocket.  Have to hide it in the Power Station.  Thrift beats riches.   Solzhenitsyn:  Beauty will Save the World   Part One:  The Ontology of Beauty One artist sees himself as the creator of an independent spiritual world; he hoists onto his shoulders the task of creating this world, of peopling it and of bearing the all-embracing responsibility for it; but he crumples beneath it, for a mortal genius is not capable of bearing such a burden. Just as man in general, having declared himself the centre of existence, has not succeeded in creating a balanced spiritual system. And if misfortune overtakes him, he casts the blame upon the age-long disharmony of the world, upon the complexity of today's ruptured soul, or upon the stupidity of the public. Another artist, recognizing a higher power above, gladly works as a humble apprentice beneath God's heaven; then, however, his responsibility for everything that is written or drawn, for the souls which perceive his work, is more exacting than ever. But, in return, it is not he who has created this world, not he who directs it, there is no doubt as to its foundations; the artist has merely to be more keenly aware than others of the harmony of the world, of the beauty and ugliness of the human contribution to it, and to communicate this acutely to his fellow-men. And in misfortune, and even at the depths of existence – in destitution, in prison, in sickness his sense of stable harmony never deserts him.   But all the irrationality of art, its dazzling turns, its unpredictable discoveries, its shattering influence on human beings – they are too full of magic to be exhausted by this artist's vision of the world, by his artistic conception or by the work of his unworthy fingers.   Part Two:  Can (Just) Beauty Save? One day Dostoevsky threw out the enigmatic remark: “Beauty will save the world.” What sort of a statement is that? For a long time I considered it mere words. How could that be possible? When in bloodthirsty history did beauty ever save anyone from anything? Ennobled, uplifted, yes – but whom has it saved? … It is possible to compose an outwardly smooth and elegant political speech, a headstrong article, a social program, or a philosophical system on the basis of both a mistake and a lie. What is hidden, what distorted, will not immediately become obvious. Then a contradictory speech, article, program, a differently constructed philosophy rallies in opposition – and all just as elegant and smooth, and once again it works. Which is why such things are both trusted and mistrusted… But a work of art bears within itself its own verification: conceptions which are devised or stretched do not stand being portrayed in images, they all come crashing down, appear sickly and pale, convince no one. But those works of art which have scooped up the truth and presented it to us as a living force – they take hold of us, compel us, and nobody ever, not even in ages to come, will appear to refute them. So perhaps that ancient trinity of Truth, Goodness and Beauty is not simply an empty, faded formula as we thought in the days of our self-confident, materialistic youth? If the tops of these three trees converge, as the scholars maintained, but the too blatant, too direct stems of Truth and Goodness are crushed, cut down, not allowed through – then perhaps the fantastic, unpredictable, unexpected stems of Beauty will push through and soar TO THAT VERY SAME PLACE, and in so doing will fulfil the work of all three? In that case Dostoevsky's remark, “Beauty will save the world”, was not a careless phrase but a prophecy? After all HE was granted to see much, a man of fantastic illumination. And in that case art, literature might really be able to help the world today? It is the small insight which, over the years, I have succeeded in gaining into this matter that I shall attempt to lay before you here today.   Part Three:  The Terrible Beauty of the Gulag And as I stand here today, accompanied by the shadows of the fallen, with bowed head allowing others who were worthy before to pass ahead of me to this place, as I stand here, how am I to divine and to express what THEY would have wished to say? Frequently, in painful camp seethings, in a column of prisoners, when chains of lanterns pierced the gloom of the evening frosts, there would well up inside us the words that we should like to cry out to the whole world, if the whole world could hear one of us. Then it seemed so clear: what our successful ambassador would say, and how the world would immediately respond with its comment. Our horizon embraced quite distinctly both physical things and spiritual movements, and it saw no lop-sidedness in the indivisible world. These ideas did not come from books, neither were they imported for the sake of coherence. They were formed in conversations with people now dead, in prison cells and by forest fires, they were tested against THAT life, they grew out of THAT existence. When at last the outer pressure grew a little weaker, my and our horizon broadened and gradually, albeit through a minute chink, we saw and knew “the whole world”. And to our amazement the whole world was not at all as we had expected, as we had hoped; that is to say a world living “not by that”, a world leading “not there”, a world which could exclaim at the sight of a muddy swamp, “what a delightful little puddle!”, at concrete neck stocks, “what an exquisite necklace!”; but instead a world where some weep inconsolate tears and others dance to a light-hearted musical. How could this happen? Why the yawning gap? Were we insensitive? Was the world insensitive? Or is it due to language differences? Why is it that people are not able to hear each other's every distinct utterance? Words cease to sound and run away like water – without taste, colour, smell. Without trace. As I have come to understand this, so through the years has changed and changed again the structure, content and tone of my potential speech. The speech I give today. And it has little in common with its original plan, conceived on frosty camp evenings.   Part Four:  The Babel of Local Scales Mankind has become one, but not steadfastly one as communities or even nations used to be; not united through years of mutual experience, neither through possession of a single eye, affectionately called crooked, nor yet through a common native language, but, surpassing all barriers, through international broadcasting and print. An avalanche of events descends upon us – in one minute half the world hears of their splash. But the yardstick by which to measure those events and to evaluate them in accordance with the laws of unfamiliar parts of the world – this is not and cannot be conveyed via soundwaves and in newspaper columns. For these yardsticks were matured and assimilated over too many years of too specific conditions in individual countries and societies; they cannot be exchanged in mid-air. In the various parts of the world men apply their own hard-earned values to events, and they judge stubbornly, confidently, only according to their own scales of values and never according to any others.   In one part of the world, not so long ago, under persecutions not inferior to those of the ancient Romans', hundreds of thousands of silent Christians gave up their lives for their belief in God. In the other hemisphere a certain madman, (and no doubt he is not alone), speeds across the ocean to DELIVER us from religion – with a thrust of steel into the high priest! He has calculated for each and every one of us according to his personal scale of values!   One world, one mankind cannot exist in the face of six, four or even two scales of values: we shall be torn apart by this disparity of rhythm, this disparity of vibrations. A man with two hearts is not for this world, neither shall we be able to live side by side on one Earth. Part Five:  Art Shares, Shapes, and Preserves Culture But who will co-ordinate these value scales, and how? … Who might succeed in impressing upon a bigoted, stubborn human creature the distant joy and grief of others, an understanding of dimensions and deceptions which he himself has never experienced? Propaganda, constraint, scientific proof – all are useless. But fortunately there does exist such a means in our world! That means is art. That means is literature.   …  They possess a wonderful ability: beyond distinctions of language, custom, social structure, they can convey the life experience of one whole nation to another.  [It also] becomes the living memory of the nation. Thus it preserves and kindles within itself the flame of her spent history, in a form which is safe from deformation and slander. In this way literature, together with language, protects the soul of the nation. But woe to that nation whose literature is disturbed by the intervention of power. Because that is not just a violation against “freedom of print”, it is the closing down of the heart of the nation, a slashing to pieces of its memory. … In some cases moreover – when as a result of such a silence the whole of history ceases to be understood in its entirety – it is a danger to the whole of mankind.   Part Six:  Lies and Suppression Destroy What is more, it is not simply crude power that triumphs abroad, but its exultant justification. … The young, at an age when they have not yet any experience other than sexual, when they do not yet have years of personal suffering and personal understanding behind them, are jubilantly repeating our depraved Russian blunders of the Nineteenth Century, under the impression that they are discovering something new. … And on top of this we are threatened by destruction in the fact that the physically compressed, strained world is not allowed to blend spiritually; the molecules of knowledge and sympathy are not allowed to jump over from one half to the other. This presents a rampant danger: THE SUPPRESSION OF INFORMATION between the parts of the planet.  Contemporary science knows that suppression of information leads to entropy and total destruction. Suppression of information renders international signatures and agreements illusory; within a muffled zone it costs nothing to reinterpret any agreement, even simpler – to forget it, as though it had never really existed. (Orwell understood this supremely.)  A muffled zone is, as it were, populated not by inhabitants of the Earth, but by an expeditionary corps from Mars; the people know nothing intelligent about the rest of the Earth and are prepared to go and trample it down in the holy conviction that they come as “liberators”. Part Seven:  Creating a Shared Human Story Friends! Let us try to help if we are worth anything at all! Who from time immemorial has constituted the uniting, not the dividing, strength in your countries, lacerated by discordant parties, movements, castes and groups? There in its essence is the position of writers: expressers of their native language – the chief binding force of the nation, of the very earth its people occupy, and at best of its national spirit. We shall be told: what can literature possibly do against the ruthless onslaught of open violence? But let us not forget that violence does not live alone and is not capable of living alone: it is necessarily interwoven with falsehood. Between them lies the most intimate, the deepest of natural bonds. Violence finds its only refuge in falsehood, falsehood its only support in violence. Any man who has once acclaimed violence as his METHOD must inexorably choose falsehood as his PRINCIPLE. And the simple step of a simple courageous man is not to partake in falsehood, not to support false actions! Let THAT enter the world, let it even reign in the world – but not with my help. But writers and artists can achieve more: they can CONQUER FALSEHOOD! In the struggle with falsehood art always did win and it always does win! Openly, irrefutably for everyone! Falsehood can hold out against much in this world, but not against art. And no sooner will falsehood be dispersed than the nakedness of violence will be revealed in all its ugliness – and violence, decrepit, will fall. That is why, my friends, I believe that we are able to help the world in its white-hot hour. Not by making the excuse of possessing no weapons, and not by giving ourselves over to a frivolous life – but by going to war! Proverbs about truth are well-loved in Russian. They give steady and sometimes striking expression to the not inconsiderable harsh national experience: ONE WORD OF TRUTH SHALL OUTWEIGH THE WHOLE WORLD. And it is here, on an imaginary fantasy, a breach of the principle of the conservation of mass and energy, that I base both my own activity and my appeal to the writers of the whole world.  

Join us as we reenter the lush and sensual world of Luca Guadagnino and discover “il costo dell'ecstasy” in his 2009 film I Am Love. Wilson savours the intentional mistakes in technique that feel like a part of the world of the film. Eli gives a brief lesson on editing, drawing parallels all the way back to the Eisenstein method of montage. Ben directs attention to the powerful scenes of melodramatic realisation across Guadagnino's work. Why not dine with us? Become love at our FREE patreon, discord server, and our socials @ www.deepcutpod.com

   Writer and intuitive healer Stella joins me to talk poop,

On today's cast we start our coverage of the Grey Knights by focusing on their origin from the Horus Heresy.  We open with, arguably the most exciting book of the Horus Heresy the Flight of the Eisenstein.  From Nathaniel Garro's discovery of the rebellion, through his journey back to Terra.  After that we focus on the formation of the Knights Errant and their adventures in service to Malcador.  We then close with the end of the Knights Errant as they are given an new purpose by the Emperor.Support the show

On todays cast we conclude our coverage of the Lore of Mortarian and Typhus.  We open with the events leading up to the Istvaan III massacre and the Flight of the Eisenstein.  Thereby marking the first serious public rift between Mortarian and Typhus.  We then spend some time talking about each of their paths post drop site massacre.  After that we dive into the conversion of the Death Guard to servants of Nurgle.  After that we spend time on the rise of Typhus in service to Nurgle, they become the best of friends.  We then finish with the most recent events in the 41st millenia for Typhus and Mortarian.Support the show

There's been a question gnawing at fans of Charles Eisenstein: what does he really feel about RFK Jr's pivot to Trump? The always aspiring poet-philosopher was hired as a messaging advisor to Bobby, after all. We've spotted little fragments of Eisenstein's exceptionally long essays sneaking their way into Bobby's speeches. There was some influence, for sure, even after Charles went on multiple Costa Rican sabbaticals right in the middle of campaign season and apparently cut his consulting rate down from $21k per month, perhaps out of the goodness of the heart he knows is possible. And yet, for weeks after Bobby jumped the shark, Charles remained silent. Until now, that is. With the publication of his recent 6,711-word essay, “Shades of Many Colors,” Eisenstein finally breaks his silence and lands firmly on the side of…well, we're not quite sure. But one thing that's emerged is Charles's penchant for not crediting the source of some of his galaxy-brained ideas. Today, we'll look at some of what Charles says in his latest opus, and try to figure out what exactly he's saying. Show Notes mRNA vaccine spike protein differs from viral version The effect of SARS-CoV-2 variant on respiratory features and mortality SARS-CoV-2 Infections in mRNA Vaccinated Individuals are Biased for Viruses Encoding Spike E484K and Associated with Reduced Infectious Virus Loads that Correlate with Respiratory Antiviral IgG levels. Autoimmune and Autoinflammatory Connective Tissue Disorders Following COVID-19 Risk of autoimmune diseases following COVID-19 and the potential protective effect from vaccination: a population-based cohort study The Lancet: Most comprehensive study to date provides evidence on natural immunity protection by COVID-19 variant and how protection fades over time Conspirituality 1: Coronation for Whom?  Brief: The New Age Origin Story of RFK Jr's Campaign — Conspirituality 86: Charles Eisenstein, New Age Q — Conspirituality   Disavowing Disinformation - North Atlantic Books  Inside the Last Weeks of RFK Jr.'s Campaign Charles Eisenstein - What is the Next Story? - Scientific and Medical Network Brian Swimme: The Cosmos Watching Itself (E35) ​Charles Eisenstein Whitewashes Trump, Caricatures & Demonizes Democrats in Post Decrying Caricatures & Demonization (Part 1) Charles Eisenstein Endorses Trump, but Thinks You're Not Clever Enough to Notice (Part 2)  Cardiac Events Following Mpox Vaccine Learn more about your ad choices. Visit megaphone.fm/adchoices

Intro - :00 - 5:53____________________________________Coach Johnstone (Field Hockey) - 5:53 - 31:58____________________________________Andrew Bracken (Men's Cross Country) - 31:58 - 53:41____________________________________Kelsi Harris (Women's Cross Country) - 53:41 - 1:17:25____________________________________Russ Eisenstein (Broadcaster) - 1:17:25 - 1:54:09____________________________________Recap - 1:54:09 - 1:55:50See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Aliza Eisenstein is a Registered Dietitian/Nutritionist (RDN), licensed in the US and Israel, with close to 25  years of experience in health & nutrition. Aliza taught at Stern College before making aliyah in 2004. She managed the Special Diets department at the HASC Summer Program for 8 years. Aliza currently works in private practice, seeing clients virtually and in person. She recently developed a program combining her experience in the nutrition field with the increasingly popular coaching model to help women and girls eat right and feel good without the struggles of dieting. Aliza lives in Ramat Beit Shemesh and is a proud wife, mother, and recently minted grandmother. Learn more at https://www.alizaeisenstein.com/ _________________________________________________ This week's episode is sponsored by Toveedo! The Jewish videos your kids love, all in one happy place. Use code JOWMA10 for $10 off at ⁠https://toveedo.com/⁠! _________________________________________________ • Sponsor the JOWMA Podcast! Email digitalcontent@jowma.org • Become a JOWMA Member! www.jowma.org  • Follow us on Instagram! www.instagram.com/JOWMA_org  • Follow us on Twitter!www.twitter.com/JOWMA_med  • Follow us on Facebook! https://www.facebook.com/JOWMAorg • Stay up-to-date with JOWMA news! Sign up for the JOWMA newsletter! https://jowma.us6.list-manage.com/subscribe?u=9b4e9beb287874f9dc7f80289&id=ea3ef44644&mc_cid=dfb442d2a7&mc_eid=e9eee6e41e

Episode: 1214 Medieval Novgorod, more advanced than we realized.  Today, an old city coughs up a surprising secret.

Coming to town next weekend on Sunday, June 30, to the Magic Bag in Ferndale is a band that anyone who grew up in the nineties will definitely know. And if you don't, well, you should get acquainted with the alt-rock legendary sound of Letters to Cleo. The band has some new material to go with favorites like "I Want You to Want Me," "Here and Now," and "Cruel to Be Kind." To talk about the band, music, and the show, my guest is guitarist Michael Eisenstein. If it sounds like I'm a little excited, I'll put it on the table right now that I'm a fan. Michael shares stories along the band's journey — and the fresh energy they bring to their new material. We discuss how technology has changed the way they create music, contrasting the hands-on, live development of songs in the early nineties with today's digital collaboration. Michael reflects on the unique challenges and benefits of remote recording and how it has affected the band's creative process. We also get into the band's involvement with the iconic movie "Ten Things I Hate About You," sharing behind-the-scenes stories, including the thrilling experience of filming the closing shot from a helicopter. Michael talks about the gratifying experience of hearing from younger musicians who were influenced by Letters to Cleo and how the band continues to inspire the next generation of artists. Looking forward to their upcoming show at the Magic Bag, Michael shares his excitement about returning to the Midwest and performing in a venue that feels like home. He reminisces about past tours through Metro Detroit with other artists and the joy of reconnecting with old friends and fans. The intimate setting of the Magic Bag suits the band's vibe perfectly, promising a night of great music and energy. Don't miss Letters to Cleo at the Magic Bag in Ferndale on Sunday, June 30. Doors open at 7pm. Tickets: https://www.ticketweb.com/event/kickstand-productions-presents-letters-to-the-magic-bag-tickets/13463344?pl=magicbag p.s. - I want to put a pin in your calendar for Thursday, July 11, 2024. Our Daily Detroit Happy Hour returns, this time at The Royce in downtown Detroit from 4pm to 7pm. If you've got questions, email us at dailydetroit - at - gmail - dot - com. Follow us on Apple Podcasts: https://lnk.to/dailydetroitonapple Or Spotify: https://lnk.to/dailydetroitonspotify Thanks to our members: http://www.patreon.com/dailydetroit