Podcast appearances and mentions of francois bonnet

In the three-part podcast series Listening to the In-Between we highlight different aspects of Pauline Oliveros's Deep Listening® practice. We do so by providing backgrounds, practical listening exercises, and by exploring theoretical notions connected to Deep Listening.   In part I researcher and music journalist Joep Christenhusz explored Deep Listening, together with Ed McKeon and Ximena Alarcón, who are well-experienced deep listeners. Alarcón described the INTIMAL App© that she has developed over the last years.   In the second episode, Deep Listener Sharon Stewart invited us to participate in embodied rituals of attention, a practice of listening to or sensing aspects of power and powerlessness in the world that surrounds us. This reconnected her to the ground-breaking work of Audre Lorde, “Uses of the Erotic: The Erotic as Power”. In this third and final instalment, 'Thinking with our Ears', Joep Christenhusz returns to Ed McKeon and Ximena Alarcón, featuring Sharon Stewart as well. They consider Oliveros's Deep Listening practice from several theoretical perspectives, thereby taking into account that theory and practice are always closely intertwined in Oliveros's work.    Starting from the Extreme Slow Walk, an exercise in sonic awareness, they navigate a fluid in-between space, where conventional binaries like theory-practice, self-other, active-passive and subject-environment start to dissolve. This outward and inward journey results in embodied knowledge about, among other things, the nature of attention and concentration, our relation to our environment and our experience of self.   The second part of this episode consists of a conversation with Ximena Alarcón on the notions of the in-between, sonic migrations, and the migratory experience, and reflections on the role of language in the presence and experience of self.   Show Notes In the podcast you hear the following audio fragments: Pauline Oliveros, Stuart Dempster, Panaiotis, Album Deep Listening, track 1, ‘Lear', reproduced by permission of PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt). All Rights Reserved. Members ASCAP References Meditation number 5, ‘Native', from: Pauline Oliveros (1971). Sonic Meditations. PoP and MoM Publications (Pauline Oliveros Publications & Ministry of Maåt).   Commentary Oliveros on the Extreme Slow Walk, from: Pauline Oliveros (1971), Sonic Meditations. PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt).   Francois Bonnet (2016). The Order of Sounds, A Sonorous Archipelago, Urbanomic. Pauline Oliveros (2005), Deep Listening, a Composer's Sound Practice, iUniverse Pauline Oliveros (1984/2015). Software for People, Smith Publications/CreateSpace Ximena Alarcón (2014). Networked Migrations: Listening to and Performing the In-Between Space. (99+) Networked Migrations: listening to and performing the in-between space | ximena alarcon - Academia.edu Marianna Ortega (2008). Multiplicity, Inbetweeness, and the Question of Assimilation Multiplicity, Inbetweeness, and the Question of Assimilation (researchgate.net) Gloria E. Anzaldúa (1987). Borderlands/La Frontera: The New Mestiza,   Previous episodes and related materials Listening to the In-Between Part 1: Introducing Pauline Oliveros and Deep Listening (artez.nl) Listening to the In-Between Part 2: Sensing Traces of Power(lessness) (artez.nl) Ed McKeon,“Moving Through Time,” published on APRIA in September.   5 Oct. 2022, ArtEZ Zwolle, Sophiagebouw and Conservatory: Extreme Slow Walk – Listening to the In-Between.

Giga-Hertz Preis 2019 | Vortrag [24.11.2019] François Bonnet, Direktor der Groupe de Recherches Musicales führt mit einem Vortrag in das vielfältige Œuvre von Éliane Radigue ein. Das Giga-Hertz-Preis Festival 2019 schließt mit einer umfangreichen Einblick in das Œuvre der Preisträgerin Éliane Radigue ab! Das abschließende Konzert umfasst zwei deutsche Erstaufführungen und eine Uraufführung der Komponistin. Éliane Radigue studierte bei Pierre Schaeffer und arbeitete mit Pierre Henry (Giga-Hertz-Preis für Sound Art 2013), emanzipierte sich aber früh in ihren klangkünstlerischen Ansätzen von den beiden Musique concrète-Pionieren. Als eine der wenigen Frauen im Studio d'Essai schaffte sie es trotz der widrigen Umstände als Komponistin zu arbeiten und später eine internationale Karriere aufzubauen. Éliane Radigues abstrakt–imaginative Klanglandschaften, die sie mittels modularer Klangsynthese geschaffen hat, stellen eine klangkünstlerisch einmalige Position innerhalb der musikalischen Avantgarde dar. In New York begann sie erst mit einem Buchla Synthesizer und später ausschließlich mit dem ARP 2500 Modularsystem und mit Tonbandtechniken zu arbeiten. Zudem wurde sie zu einer überzeugten Buddhistin. Dieses führte sie zu einem Musikstil, in dem lange Klangverläufe, Klangflächen mit kleinsten Veränderungen eine fast meditative Hörhaltung provozierten. Zu einem ihrer bekanntesten Werke wurde das dreistündige zwischen 1990 und 1998 komponierte Werk »Trilogie de la Mort«. /// The Giga Hertz Prize Festival 2019 concludes with a comprehensive insight into the oeuvre of the prizewinner Éliane Radigue! The final concert includes two German premieres and a world premiere of the composer. Éliane Radigue studied with Pierre Schaeffer and worked with Pierre Henry (Giga Hertz Prize for Sound Art 2013), but emancipated herself early in her sound artistic approaches from the two Musique concrète pioneers. As one of the few women in the Studio d'Essai, she managed to work as a composer despite the adverse circumstances and later build an international career. Éliane Radigue's abstract-imaginative sound landscapes, which she created by means of modular sound synthesis, represent a unique position in sound art within the musical avant-garde. In New York she first began to work with a Buchla synthesizer and later exclusively with the ARP 2500 modular system and tape techniques. She also became a convinced Buddhist. This led her to a style of music in which long sound sequences, sound surfaces with the smallest changes, provoked an almost meditative listening posture. The three-hour work »Trilogie de la Mort« composed between 1990 and 1998 became one of her best-known works.

Bringing avant-garde music into the 21st century with the French polymath.

Bringing avant-garde music into the 21st century with the French polymath.

April 24 2017 - Francois Bonnet. Emmanuel Macron has emerged as the frontrunner in the first round of elections for the French Presidency. Though, the leading story of the night was the success of Marine Le Pen of the National Front Party in securing second place and an opportunity to participate in the run off election with Macron in two weeks time. The French results are being read as part of a wave of populist electoral successes – in what appears to be a radically redrawn political landscape in Europe and North America. In this week’s podcast Francois Bonnet of the CNRS in France joins us to pick through these results arguing that the National Front may have seriously underperformed.

Last month, Francois Bonnet gave us his thoughts on the Cologne attacks. He argued that Cologne was a major blow to the Feminist left in Europe and encouraged us to see the police response to the violence as an act of performing non-racism. In this week's podcast, Kendra Briken of the University of Strathclyde offers a feminist and anti-racist critique of Francois’ position.

On New Years Eve 2016 German police received hundreds of complaints of crimes including sexual assaults and robberies occurring in the vicinity of the Cologne Central Railway station. Many blamed recently arrived asylum seekers for the attacks. In this week’s podcast Francois Bonnet of the CNRS, explains why we have struggled to balance our righteous indignation at the attacks with our fear of being labelled a ‘racist’.

This week on All In The Industry Host Shari Bayer interviews Jean-Francois Bonnet, the executive pastry chef of Tumbador Chocolate. Shari and Jean discuss how he started his career in the restaurant industry, and what eventually made him decide to leave and start Tumbador Chocolate. This program was brought to you by Route 11 Potato Chips.

Old Machines for New Music | Symposium Sat, 12/01/2012 This presentation is about a piece made in 2011 with a synth developed between 1967 and 1975 at GRM, named later after its main inventor : the „Coupigny“. Based on this example, this presentation tends to expose how using „old“ machines in the musical process can lead to the emergence of new compositional paradigms.