Podcasts about fully automated luxury communism

Welcome to “The Ben & Marc Show”, featuring a16z's co-founders Ben Horowitz and Marc Andreessen.  This week, Marc and Ben are joined by guest Chris Dixon to discuss his recent NY Times bestselling book “Read Write Own”, as well as the future of crypto, blockchain and Web3. Chris Dixon has been a General Partner at Andreessen Horowitz since 2012. He founded and leads a16z crypto, which invests in web3 technologies through four dedicated funds with more than $7 billion under management. Previously, Chris was the cofounder and CEO of two startups, SiteAdvisor (acquired by McAfee in 2006) and Hunch (acquired by eBay in 2011). In this wide-ranging conversation, the three discuss the evolution of the internet, the current relationship between AI and cryptocurrencies, and how the Web3 movement could inspire a new political ideology. They also take questions from X. Enjoy! Watch the Full Video: https://youtu.be/u95r025U9K8 Resources:Marc on X: https://twitter.com/pmarcaMarc's Substack: https://pmarca.substack.com/ Ben on X: https://twitter.com/bhorowitz Chris Dixon on X: https://twitter.com/cdixonMore info on Chris Dixon's book “Read Write Own”: https://readwriteown.com/ Book referenced on this episode:“Fully Automated Luxury Communism” by Aaron Bastani bit.ly/3Td7HVw Stay Updated: Find us on X: https://twitter.com/a16zFind us on LinkedIn: https://www.linkedin.com/company/a16z The views expressed here are those of the individual personnel quoted and are not the views of a16z or its affiliates. This content is provided for informational purposes only, and should not be relied upon as legal, business, investment, or tax advice. Furthermore, this content is not directed at nor intended for use by any investors or prospective investors and may not under any circumstances be relied upon when making a decision to invest in any a16z funds. PLEASE SEE MORE HERE: https://a16z.com/disclosures/

In this Patreon exclusive Vanity Project use Poor Things (2023) to finally talk about the big topics. Sure, Lanthimos' new film might be about a Frankensteinian pedophilia problem, but Charles and Laura want to talk about the Ball Drop. While we're still in a festive mood from New Years we're celebrating joyful semen! Poor Things helps us to ask, is Fully Automated Luxury Communism compatible with Political Lesbianism? Is Laura finally giving up on fags? If an adult baby learns how to jerk off on the silver screen, is that ok to watch with your mum? Are we just like this because we were made to tap dance to LoveGame as children? Pledge allegiance to the struggle: ⁠⁠⁠https://www.patreon.com/vanity_project

Die aktuelle linke Theorieproduktion ist unbefriedigend und blöde, vor allem im englischsprachigen Bereich werden seit Jahren Bücher auf den Markt geworfen, die aus einem halbgaren Gedanken bestehen, der aber auf 300 Seiten ausgewalzt wird. Und so ist es auch zu erklären, dass die aktuellen Debatten über Planwirtschaft an Intelligenzproblemen leiden. Vor allem zwei Bücher sind dafür verantwortlich: „People's Repubic of Walmart“ und „Fully Automated Luxury Communism“ – verfasst von Autoren, die zu den hippen Linken zählen, aber offenbar Marx nie gelesen haben. Die Thesen klingen reizvoll: Walmart funktioniert eigentlich wie eine sozialistische Volksrepublik, lautet die eine. Die andere besagt: Ein vollautomatischer Kommunismus kommt bald. In der neuen Folge von „Wohlstand für Alle“ besprechen Ole Nymoen und Wolfgang M. Schmitt diese Thesen. Literatur: Aaron Bastani: Fully Automated Luxury Communism. A Manifesto, Verso. Leigh Phillips, Michal Rozworski: People's Republic of Walmart. How the World's Biggest Corporations are Laying the Foundation for Socialism, Verso. Ihr könnt uns unterstützen - herzlichen Dank! Patreon: https://www.patreon.com/oleundwolfgang Steady: https://steadyhq.com/de/oleundwolfgang/about Paypal: https://www.paypal.me/oleundwolfgang Konto: Wolfgang M. Schmitt, Ole Nymoen Betreff: Wohlstand fuer Alle IBAN: DE67 5745 0120 0130 7996 12 BIC: MALADE51NWD Social Media: Instagram: Unser gemeinsamer Kanal: https://www.instagram.com/oleundwolfgang/ Ole: https://www.instagram.com/ole.nymoen/ Wolfgang: https://www.instagram.com/wolfgangmschmitt/ TikTok: https://www.tiktok.com/@oleundwolfgang Twitter: Unser gemeinsamer Kanal: https://twitter.com/OleUndWolfgang Ole: twitter.com/nymoen_ole Wolfgang: twitter.com/SchmittJunior Die gesamte WfA-Literaturliste: https://wohlstand-fuer-alle.netlify.app

Aaron Bastani is a British journalist and writer. He co-founded the left-wing media organisation Novara Media in 2011, and has hosted and co-hosted many of its podcasts and videos. He has written for The Guardian, London Review of Books, UnHerd and Vice, and is the author of Fully Automated Luxury Communism (2019) the title for which is a term coined by Bastani which refers to a post-capitalist society in which automation greatly reduces the amount of labour humans need to do. SPONSORED BY: AG1. Go to https://www.drinkAG1.com/triggernometry/ to get 5 free AG1 Travel Packs and a FREE 1 year supply of Vitamin D with your first purchase! Join our exclusive TRIGGERnometry community on Locals! https://triggernometry.locals.com/ OR Support TRIGGERnometry Here: Bitcoin: bc1qm6vvhduc6s3rvy8u76sllmrfpynfv94qw8p8d5 Music by: Music by: Xentric | info@xentricapc.com | https://www.xentricapc.com/ YouTube:  @xentricapc   Buy Merch Here: https://www.triggerpod.co.uk/shop/ Advertise on TRIGGERnometry: marketing@triggerpod.co.uk Join the Mailing List: https://www.triggerpod.co.uk/sign-up/ Find TRIGGERnometry on Social Media:  https://twitter.com/triggerpod https://www.facebook.com/triggerpod/ https://www.instagram.com/triggerpod/ About TRIGGERnometry:  Stand-up comedians Konstantin Kisin (@konstantinkisin) and Francis Foster (@francisjfoster) make sense of politics, economics, free speech, AI, drug policy and WW3 with the help of presidential advisors, renowned economists, award-winning journalists, controversial writers, leading scientists and notorious comedians.

Paris Marx is joined by Aaron Benanav to discuss OpenAI's claims that generative AI will take our jobs, how previous periods of automation hype haven't resulted in mass job loss, and why we need to ensure it doesn't further empower employers. Aaron Benanav is an Assistant Professor of Sociology at the Maxwell School at Syracuse University and the author of Automation and the Future of Work. Follow Aaron on Twitter at @abenanav.Tech Won't Save Us offers a critical perspective on tech, its worldview, and wider society with the goal of inspiring people to demand better tech and a better world. Follow the podcast (@techwontsaveus) and host Paris Marx (@parismarx) on Twitter, and support the show on Patreon.The podcast is produced by Eric Wickham and part of the Harbinger Media Network. Also mentioned in this episode:Aaron wrote about why chatbots won't take your job for the New Statesman.Microsoft is rolling out generative AI in its enterprise software services and its Azure platform.The Writers Guild is proposing contract language on AI in scriptwriting to ensure writers still get the credit.Support the show

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

Wie können algorithmische Technologien für demokratische Planung nutzbar gemacht werden? Max Grünberg zu Möglichkeiten und Gefahren des Planungsdämons. Kollaborative Podcast-Transkription Wenn ihr Future Histories durch eure Mitarbeit an der kollaborativen Transkription der Episoden unterstützen wollt, dann meldet euch unter: transkription@futurehistories.today FAQ zur kollaborativen Podcast-Transkription: shorturl.at/eL578   Shownotes Max Grünberg (Universität Kassel): https://www.uni-kassel.de/fb05/fachgruppen-und-institute/soziologie/fachgebiete/kunst-und-oekonomien/team/max-gruenberg Max auf Twitter: https://twitter.com/MaxGruenberg Diffrakt – Zentrum für theoretische Peripherie http://diffrakt.space/about/ Machine Dreams #2 | Cybernetic Socialism and Its Discontents - Max Grünberg im Gespräch mit Aaron Benanav und Jan Philipp Dapprich: http://diffrakt.space/en/machine-dreams-2-cybernetic-socialism-and-its-discontents/ Weitere Showotes Bastani, Aaron. 2020. Fully Automated Luxury Communism. Verso Books: https://www.versobooks.com/books/2757-fully-automated-luxury-communism Phillips, Leigh & Rozworski, Michal. 2019. The people's republic of walmart: How the world's biggest corporations are laying the foundation for socialism. Verso Books: https://www.versobooks.com/books/2822-the-people-s-republic-of-walmart Paul Cockshott (Wikipedia): https://de.wikipedia.org/wiki/Paul_Cockshott Allin Cottrell (Wikipedia): https://de.wikipedia.org/wiki/Allin_Cottrell Cockshott, P. und A. Cottrell. 2002. The Relation Between Economic and Political Instances in the Communist Mode of Production. In: Science & Society, Vol. 66, No. 1. New York: Guilford Publications, 50–64: https://guilfordjournals.com/doi/10.1521/siso.66.1.50.21014 Cockshott, P. und A. Cottrell. 1993. Towards a New Socialism. Nottingham: Russell Press. [Book as PDF]: http://ricardo.ecn.wfu.edu/~cottrell/socialism_book/new_socialism.pdf Philipp Dapprich: https://www.geisteswissenschaften.fu-berlin.de/we01/institut/mitarbeiter/wimi/dapprich/index.html   Dapprich, Jan Philipp. 2020. Rationality and distribution in the socialist economy. Diss. University of Glasgow.: https://theses.gla.ac.uk/81793/ Charles Fourier (Wikipedia): https://de.wikipedia.org/wiki/Charles_Fourier Robert Owen (Wikipedia): https://de.wikipedia.org/wiki/Robert_Owen Henri de Saint-Simon (Wikipedia): https://de.wikipedia.org/wiki/Henri_de_Saint-Simon Morozov, Evgeny. 2019. Digital socialism? The calculation debate in the age of big data. New Left Review 116: 33-67.: https://newleftreview.org/issues/ii116/articles/evgeny-morozov-digital-socialism Saros, E. Daniel. 2014. Information Technology and Socialist Construction. The End of Capital and the Transition to Socialism. Oxfordshire: Routledge: https://www.routledge.com/Information-Technology-and-Socialist-Construction-The-End-of-Capital-and/Saros/p/book/9780415742924 David Laibman (Wikipedia): https://en.wikipedia.org/wiki/David_Laibman Pat Devine (Wikipedia): https://en.wikipedia.org/wiki/Pat_Devine Kaggle: https://www.kaggle.com/ Rouvroy, Antoinette. 2016. Algorithmic Governmentality: Radicalization and Immune Strategy of Capitalism and Neoliberalism?, trans. Benoît Dillet, La Deleuziana 3: "Life and Number", pp 30-36. [PDF available]: http://www.ladeleuziana.org/wp-content/uploads/2016/12/Rouvroy2eng.pdf Pentland, Alex. 2014. Social physics: How good ideas spread-the lessons from a new science. Penguin Random House.: https://www.penguinrandomhouse.com/books/314230/social-physics-by-alex-pentland/ Anna-Verena Nosthoff: https://www.weizenbaum-institut.de/portrait/p/anna-verena-nosthoff/ Felix Maschewski: https://hu-berlin.academia.edu/FelixMaschewski Was ist libertärer Paternalismus? | Future Histories Kurzvideo: https://www.youtube.com/watch?v=nyc6Niqfpl8 Härdin, Tomas. 2021. Planning complexity for model economies.: https://www.haerdin.se/blog/2021/02/24/planning-complexity-for-model-economies/ Dave Zachariah: https://www.it.uu.se/katalog/davza513 Participatory Economy (Parecon): https://participatoryeconomy.org/ Historical Materialism Journal: https://www.historicalmaterialism.org/ Nieto, Max. 2021. Entrepreneurship and Decentralised Investment in a Planned Economy: A Critique of the Austrian Reading. Historical Materialism, 1–31.: https://brill.com/view/journals/hima/30/1/article-p133_5.xml The Algorithmic Road to Socialism? A Workshop on Digital Technologies and Postcapitalist Imaginaries: https://postcapitalistimaginaries.wordpress.com/ Ariana Dongus: https://arianadongus.com/# Christina Gratorp (Eurozine): https://www.eurozine.com/authors/gratorp-christina/ Gratorp, Christina. 2020. The materiality of the cloud: On the hard conditions of soft digitization. Eurozine: https://www.eurozine.com/the-materiality-of-the-cloud/ Christina Gratorps Blog: https://socialistiskaingenjorer.blogspot.com/ Christina Gratorp auf Twitter: https://twitter.com/cyborgChristina Marlon Lieber: https://marlonlieber.com/about/ Marlon Lieber auf Twitter: https://twitter.com/marlon_lieber   Thematisch angrenzende Future Histories Episoden S02E41 | Antoinette Rouvroy on Algorithmic Governmentality: https://futurehistories.today/episoden-blog/s02/e41-antoinette-rouvroy-on-algorithmic-governmentality/ S02E33| Pat Devine on Negotiated Coordination: https://www.futurehistories.today/episoden-blog/s02/e33-pat-devine-on-negotiated-coordination/  S02E32 | Heide Lutosch zu feministischem Utopisieren in der Planungsdebatte: https://www.futurehistories.today/episoden-blog/s02/e32-heide-lutosch-zu-feministischem-utopisieren-in-der-planungsdebatte/ S02E21 | Robin Hahnel on Parecon (Part1): https://www.futurehistories.today/episoden-blog/s02/e21-robin-hahnel-on-parecon-part1/ S02E19 | David Laibman on Multilevel Democratic Iterative Coordination: https://www.futurehistories.today/episoden-blog/s02/e19-david-laibman-on-multilevel-democratic-iterative-coordination/ S02E17 | Robert Seyfert zu algorithmischer Sozialität: https://www.futurehistories.today/episoden-blog/s02/e17-robert-seyfert-zu-algorithmischer-sozialitaet/ S02E14 | Jakob Heyer zu Grundproblemen einer postkapitalistischen Produktionsweise (Teil 1): https://www.futurehistories.today/episoden-blog/s02/e14-jakob-heyer-zu-grundproblemen-einer-postkapitalistischen-produktionsweise-teil-1/ S02E10 | Aaron Benanav on Associational Socialism and Democratic Planning: https://www.futurehistories.today/episoden-blog/s02/e10-aaron-benanav-on-associational-socialism-and-democratic-planning/ S01E41 | Florian Irgmaier zu libertärem Paternalismus: https://www.futurehistories.today/episoden-blog/s01/e41-florian-irgmaier-zu-libertaerem-paternalismus/ S01E31 | Daniel E. Saros on Digital Socialism and the Abolition of Capital (Part 1): https://www.futurehistories.today/episoden-blog/s01/e31-daniel-e-saros-on-digital-socialism-and-the-abolition-of-capital-part-1/ S01E22 | Anna-Verena Nosthoff und Felix Maschewski zu digitaler Verführung, sozialer Kontrolle und der Gesellschaft der Wearables: https://www.futurehistories.today/episoden-blog/s01/e22-anna-verena-nosthoff-und-felix-maschewski-zu-digitaler-verfuehrung-sozialer-kontrolle-und-der-gesellschaft-der-wearables/  S01E19 | Jan Philipp Dapprich zu sozialistischer Planwirtschaft: https://www.futurehistories.today/episoden-blog/s01/e19-jan-philipp-dapprich-zu-sozialistischer-planwirtschaft/   Wenn euch Future Histories gefällt, dann erwägt doch bitte eine Unterstützung auf Patreon: https://www.patreon.com/join/FutureHistories? Schreibt mir unter office@futurehistories.today  Diskutiert mit auf Twitter (#FutureHistories): https://twitter.com/FutureHpodcast auf Mastodon: https://mstdn.social/@FutureHistories oder auf Reddit: https://www.reddit.com/r/FutureHistories/ www.futurehistories.today Keywords: #MaxGrünberg, #JanGroos, #Interview, #Podcast, #FutureHistories, #Planung, #DemokratischePlanung, #KommunisitscheZukunft, #Freiheit, #LibertärerKommunismus, #Effizienz, #Planungsdebatte, #AlgorithmischeGouvernamentalität, #Partizipation, #BottomUp, #Iterativ, #digitalerSozialismus, #Algorithmen, #Postkapitalismus, #Kommunismus, #Solzialismus, #DasRegierenderAlgorithmen

Bastani's Fully Automated Luxury Communism and Srnicek and Williams' Inventing the Future were all the buzz in the 2010s. And now it seems to be dead. What was accelerationism all about? And why did it die? TIR speaks with scholar Daniel Tutt.   About TIR Thank you for supporting the show! Remember to like and subscribe on YouTube. Also, consider supporting us on Patreon at https://www.patreon.com/join/BitterLakePresents   Check out our official merch store at https://www.thisisrevolutionpodcast.com/   Also follow us on... https://podcasts.apple.com/.../this-is.../id1524576360 www.youtube.com/thisisrevolutionpodcast www.twitch.tv/thisisrevolutionpodcast www.twitch.tv/leftflankvets https://www.facebook.com/Thisisrevolutionpodcast/ Instagram: @thisisrevolutionoakland   Follow the TIR Crüe on Twitter: @TIRShowOakland @djenebajalan @DrKuba2 @probert06 @StefanBertramL @MadamToussaint @MarcusHereMeow

The universe is infinite only as it continues to expand. Death seems mysterious because we have no memory of being born. What time is it on the moon?

On shared-labour socialism. Political theorist Alex Gourevitch talks to us about his critique of post-work thought, and how it presupposes the very labour it seeks to free us from. We start of by distinguishing post-work socialism (e.g. Fully Automated Luxury Communism) from various propositions for a Universal Basic Income, and discuss why these ideas are popular today. We then dedicate much of the time to debating Gourevitch's alternative proposal for "shared-labour socialism". What counts as necessary labour – and who is going to do it? How has globalisation changed people's perspectives on what necessary labour is? And will we be producing more under socialism? Part 2 is here: patreon.com/posts/73765804  Readings: Post-Work Socialism?, Alex Gourevitch, Catalyst Why your flights keep getting cancelled, Daniel Zamora Vargas, New Statesman Listenings:  /149/ It's Not Robots, It's Capitalism ft. Aaron Benanav / Liz Pancotti /72/ Frankly Awesome Lefty Conversation ft. Aaron Bastani /88/ Vouchers for Toxicity ft. Anton Jäger 

In this podcast we entertain the likelihood of an impending sublime moment in which a variety of people's actions bring about some fundamental  disruption of the status quo. We think that such an event is highly likely but that it will present revolutionary and civil-disobedience movements with the problem of what to do the day after the sublime moment. This is a point often elaborated by Zizek. We offer the Occupy movement and the Arab Spring as examples. We proceed by way of allowing the ideas in two recent books, both offering some utopian speculations informed to some degree by Marx,  to collide in order to produce some analytic tools. Those books are Fully Automated Luxury Communism by Aaron Bastani and Beyond Money by Anitra Nelson. [Free. 44 minutes]

Nick Dyer-Witheford on biocommunism, "a communism emerging from the catastrophes capital now inflicts throughout the bios, the realm of life itself". Future Histories InternationalFind all English episodes of Future Histories here:https://futurehistories-international.com/and subscribe to the Future Histories International RSS-Feed (English episodes only) ShownotesNick Dyer-Witheford (University of Western Ontario):https://www.fims.uwo.ca/people/profiles/nick_dyer-witheford.html Dyer-Witheford, Nick. 2022. Biocommie: Power and Catastrophe.:https://projectpppr.org/populisms/biocommie-power-and-catastrophePPPR - Platforms, Populisms, Pandemics and Riots (Research Project):https://projectpppr.org/Dyer-Witheford, Nick. 2013. Red plenty platforms. Culture Machine 14 (PDF).:http://svr91.edns1.com/~culturem/index.php/cm/article/view/511/526Dyer-Witheford, Nick. 2007. Commonism. Turbulence 1:http://www.turbulence.org.uk/turbulence-1/commonism/index.html Dyer-Witheford, Nick. 1999. Cyber-Marx: Cycles and circuits of struggle in high-technology capitalism. University of Illinois Press.:https://www.press.uillinois.edu/books/?id=p067952Dyer-Witheford, Nick. 2015. Cyber-proletariat: Global labour in the digital vortex. London: Pluto Press. (PDF available):http://digamo.free.fr/dyerwith.pdfDyer-Witheford, Nick, Atle Mikkola Kjøsen, and James Steinhoff. 2019. Inhuman power. Artificial intelligence and the future of capitalism. London: Pluto Press.:https://www.plutobooks.com/9780745338606/inhuman-power/ Further ShownotesBastani, Aaron. 2019. Fully Automated Luxury Communism. London: Verso.:https://www.versobooks.com/books/3156-fully-automated-luxury-communismHelen Hester:https://www.uwl.ac.uk/staff/helen-hesterLaboria Cuboniks Collective. 2018. The Xenofeminist Manifesto: A Politics for Alienation. London: Verso:https://www.versobooks.com/books/2887-the-xenofeminist-manifestoSrnicek, Nick und Alex Williams. 2016. Inventing the Future. London: Verso:https://www.versobooks.com/books/2315-inventing-the-futureTooze, Adam. 2021. Shutdown: How Covid Shook the World Economy. New York: Viking.:https://www.penguinrandomhouse.com/books/669575/shutdown-by-adam-tooze/The New Age of Catastrophe - Alex Callinicos's Farewell Lecture:https://www.youtube.com/watch?v=C-DTifOGfM4Negri, Antonio. 2005. Crisis of the Crisis State. Libcom:https://libcom.org/library/crisis-state-antonio-negriTerranova, Tiziana. 2009. Another Life: The Nature of Political Economy in Foucault's Genealogy of Biopolitics., Theory, Culture & Society, 26(6), 234–65.:https://journals.sagepub.com/doi/10.1177/0263276409352193Fraser, Nancy. 2016. Contradictions of Capital and Care. New Left Review 100, 99-117.:https://newleftreview.org/issues/ii100/articles/nancy-fraser-contradictions-of-capital-and-careKlein, Naomi. 2008. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Picador.:https://www.penguin.co.uk/books/55595/the-shock-doctrine-by-naomi-klein/9780141024530Buck, Holly Jean. 2021. Ending fossil fuels: Why net zero is not enough. Verso.:https://www.versobooks.com/books/3879-ending-fossil-fuelsCox, Stan. 2013. Any way you slice it: the past, present, and future of rationing. The New Press.:https://thenewpress.com/books/any-way-you-slice-itBenanav, Aaron. 2020. Automation and the Future of Work. London: Verso.:https://www.versobooks.com/books/4029-automation-and-the-future-of-workJameson, Fredric. 2016. An American utopia. Dual Power and the Universal Army. London: Verso, 1-96.:https://www.versobooks.com/books/2118-an-american-utopiaDoctorow, Cory. 2020. Full Employment. Locus Magazine:https://locusmag.com/2020/07/cory-doctorow-full-employment/Out of the Woods. 2018. The Uses of Disaster. Commune Magazine: https://communemag.com/the-uses-of-disaster/ Out of the Woods. 2020. Hope Against Hope: Writings on Ecological Crisis. New York: Common Notions.:https://libcom.org/article/hope-against-hope-out-woods-book-coming-soonFoucault, Michel, & Michel Senellart (transl.). 2008. The Birth of Biopolitics: Lectures at the Collège de France, 1978-79. Palgrave Macmillan:https://us.macmillan.com/books/9780312203412/thebirthofbiopolitics[German] Sutterlütti, Simon & Meretz, Stefan. 2018. Kapitalismus aufheben. Hamburg: VSA Verlag. (PDF verfügbar):https://www.rosalux.de/fileadmin/rls_uploads/pdfs/sonst_publikationen/VSA_Sutterluetti_Meretz.pdfMalm, Andreas. 2020. Corona, Climate, Chronic Emergency: War Communism in the Twenty-First Century. London: Verso.:https://www.versobooks.com/books/3704-corona-climate-chronic-emergency Nunes, Rodrigo. 2021. Neither vertical nor horizontal: A theory of political organization. London: Verso.:https://www.versobooks.com/books/3810-neither-vertical-nor-horizontalExcerpt from Neither Vertical nor Horizontal: A Theory of Political Organization (Verso 2021):https://projectpppr.org/platforms/the-traumas-of-organizationInterview by Nick Dyer-Witheford with Rodrigo Nunes:https://projectpppr.org/platforms/neither-vertical-nor-horizontal-interview-with-rodrigo-nunesDiane DiPrima:https://de.wikipedia.org/wiki/Diane_DiPrima Regarding scarcity in liberalism see the Future Histories Episode with Ute Tellman as well as:Tellmann, Ute. 2017. Life and money: The genealogy of the liberal economy and the displacement of politics. Columbia University Press.:http://cup.columbia.edu/book/life-and-money/9780231182263 Further Future Histories Episodes on related topicsS02E10 | Aaron Benanav on Associational Socialism and Democratic Planning:https://www.futurehistories.today/episoden-blog/s02/e10-aaron-benanav-on-associational-socialism-and-democratic-planning/[German] S01E47 | Stefan Meretz zu Commonismus:https://www.futurehistories.today/episoden-blog/s01/e47-stefan-meretz-zu-commonismus/S01E31 | Daniel E. Saros on Digital Socialism and the Abolition of Capital (Part 1):https://www.futurehistories.today/episoden-blog/s01/e31-daniel-e-saros-on-digital-socialism-and-the-abolition-of-capital-part-1/ (German) Episoden zum Thema alternative RegierungskünsteS02E25 | Bini Adamczak zu Beziehungsweisen:https://www.futurehistories.today/episoden-blog/s02/e25-bini-adamczak-zu-beziehungsweisen/S02E24 | Gabriel Kuhn zu anarchistischer Regierungskunst:https://www.futurehistories.today/episoden-blog/s02/e24-gabriel-kuhn-zu-anarchistischer-regierungskunst/S02E08 | Thomas Biebricher zu neoliberaler Regierungskunst:https://www.futurehistories.today/episoden-blog/s02/e08-thomas-biebricher-zu-neoliberaler-regierungskunst/S02E06 | Alexander Kluge zu Zukünften der Kooperation:https://www.futurehistories.today/episoden-blog/s02/e06-alexander-kluge-zu-zukuenften-der-kooperation/S02E03 | Ute Tellmann zu Ökonomie als Kultur:https://www.futurehistories.today/episoden-blog/s02/e03-ute-tellmann-zu-oekonomie-als-kultur/S01E53 | Kalle Kunkel zu Herrschaftstechnologien in der Krise:https://www.futurehistories.today/episoden-blog/s01/e53-kalle-kunkel-zu-herrschaftstechnologien-in-der-krise/S01E25 | Joseph Vogl zur Krise des Regierens:https://www.futurehistories.today/episoden-blog/s01/e25-joseph-vogl-zur-krise-des-regierens/S01E11 | Frieder Vogelmann zu alternativen Regierungskünsten:https://www.futurehistories.today/episoden-blog/s01/e11-frieder-vogelmann-zu-alternativen-regierungskuensten/ Find a collection of Future Histories episodes related to democratic economic planning here:https://www.listennotes.com/playlists/zeitgen%C3%B6ssische-planwirtschaft-in-future-S9jTkXfb-gp/episodes/If you like Future Histories, you can help with your support on Patreon:https://www.patreon.com/join/FutureHistories?Write me at office@futurehistories.today and join the discussion on Twitter (#FutureHistories):https://twitter.com/FutureHpodcastor on Reddit:https://www.reddit.com/r/FutureHistories/or on YouTube:https://www.youtube.com/channel/UCfRFz38oh9RH73-pWcME6ywwww.futurehistories.today Episode Keywords:#FutureHistories, #FutureHistoriesInternational, #Podcast, #JanGroos, #Interview, #Biocommunism, #Dyer-Witheford, #Commonism, #Platforms, #Biocommie, #HelenHester, #NickSrnicek, #AlexWilliams, #Accelerationism, #Ecosocialism, #Rationing, #PowerandCatastrophe, #Capitalism, #AaronBenanav, #Postcapitalism, #Polycrisis, #EconomicPlanning, #Crisis, #Capital, #Rationing, #Hegemony, #Governmentality, #Foucault, #RadicalTransformation, #SocialTransformation, #Democracy, #Socialism, #DesasterCapitalism, #PoliticalEconomy, #Scarcity, #Communism

Nick Dyer-Witheford on biocommunism, "a communism emerging from the catastrophes capital now inflicts throughout the bios, the realm of life itself".   Future Histories International Find all English episodes of Future Histories here: https://futurehistories-international.com/ and subscribe to the Future Histories International RSS-Feed (English episodes only)   Shownotes Nick Dyer-Witheford (University of Western Ontario): https://www.fims.uwo.ca/people/profiles/nick_dyer-witheford.html Dyer-Witheford, Nick. 2022. Biocommie: Power and Catastrophe.: https://projectpppr.org/populisms/biocommie-power-and-catastrophe PPPR - Platforms, Populisms, Pandemics and Riots (Research Project): https://projectpppr.org/ Dyer-Witheford, Nick. 2013. Red plenty platforms. Culture Machine 14 (PDF).: http://svr91.edns1.com/~culturem/index.php/cm/article/view/511/526 Dyer-Witheford, Nick. 2007. Commonism. Turbulence 1: http://www.turbulence.org.uk/turbulence-1/commonism/index.html Dyer-Witheford, Nick. 1999. Cyber-Marx: Cycles and circuits of struggle in high-technology capitalism. University of Illinois Press.: https://www.press.uillinois.edu/books/?id=p067952 Dyer-Witheford, Nick. 2015. Cyber-proletariat: Global labour in the digital vortex. London: Pluto Press. (PDF available): http://digamo.free.fr/dyerwith.pdf Dyer-Witheford, Nick, Atle Mikkola Kjøsen, and James Steinhoff. 2019. Inhuman power. Artificial intelligence and the future of capitalism. London: Pluto Press.: https://www.plutobooks.com/9780745338606/inhuman-power/   Further Shownotes Bastani, Aaron. 2019. Fully Automated Luxury Communism. London: Verso.: https://www.versobooks.com/books/3156-fully-automated-luxury-communism Helen Hester: https://www.uwl.ac.uk/staff/helen-hester Laboria Cuboniks Collective. 2018. The Xenofeminist Manifesto: A Politics for Alienation. London: Verso: https://www.versobooks.com/books/2887-the-xenofeminist-manifesto Srnicek, Nick und Alex Williams. 2016. Inventing the Future. London: Verso: https://www.versobooks.com/books/2315-inventing-the-future Tooze, Adam. 2021. Shutdown: How Covid Shook the World Economy. New York: Viking.: https://www.penguinrandomhouse.com/books/669575/shutdown-by-adam-tooze/ The New Age of Catastrophe - Alex Callinicos's Farewell Lecture: https://www.youtube.com/watch?v=C-DTifOGfM4 Negri, Antonio. 2005. Crisis of the Crisis State. Libcom: https://libcom.org/library/crisis-state-antonio-negri Terranova, Tiziana. 2009. Another Life: The Nature of Political Economy in Foucault's Genealogy of Biopolitics., Theory, Culture & Society, 26(6), 234–65.: https://journals.sagepub.com/doi/10.1177/0263276409352193 Fraser, Nancy. 2016. Contradictions of Capital and Care. New Left Review 100, 99-117.: https://newleftreview.org/issues/ii100/articles/nancy-fraser-contradictions-of-capital-and-care Klein, Naomi. 2008. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Picador.: https://www.penguin.co.uk/books/55595/the-shock-doctrine-by-naomi-klein/9780141024530 Buck, Holly Jean. 2021. Ending fossil fuels: Why net zero is not enough. Verso.: https://www.versobooks.com/books/3879-ending-fossil-fuels Cox, Stan. 2013. Any way you slice it: the past, present, and future of rationing. The New Press.: https://thenewpress.com/books/any-way-you-slice-it Benanav, Aaron. 2020. Automation and the Future of Work. London: Verso.: https://www.versobooks.com/books/4029-automation-and-the-future-of-work Jameson, Fredric. 2016. An American utopia. Dual Power and the Universal Army. London: Verso, 1-96.: https://www.versobooks.com/books/2118-an-american-utopia Doctorow, Cory. 2020. Full Employment. Locus Magazine: https://locusmag.com/2020/07/cory-doctorow-full-employment/ Out of the Woods. 2018. The Uses of Disaster. Commune Magazine: https://communemag.com/the-uses-of-disaster/  Out of the Woods. 2020. Hope Against Hope: Writings on Ecological Crisis. New York: Common Notions.: https://libcom.org/article/hope-against-hope-out-woods-book-coming-soon Foucault, Michel, & Michel Senellart (transl.). 2008. The Birth of Biopolitics: Lectures at the Collège de France, 1978-79. Palgrave Macmillan: https://us.macmillan.com/books/9780312203412/thebirthofbiopolitics [German] Sutterlütti, Simon & Meretz, Stefan. 2018. Kapitalismus aufheben. Hamburg: VSA Verlag. (PDF verfügbar): https://www.rosalux.de/fileadmin/rls_uploads/pdfs/sonst_publikationen/VSA_Sutterluetti_Meretz.pdf Malm, Andreas. 2020. Corona, Climate, Chronic Emergency: War Communism in the Twenty-First Century. London: Verso.: https://www.versobooks.com/books/3704-corona-climate-chronic-emergency Nunes, Rodrigo. 2021. Neither vertical nor horizontal: A theory of political organization. London: Verso.: https://www.versobooks.com/books/3810-neither-vertical-nor-horizontal Excerpt from Neither Vertical nor Horizontal: A Theory of Political Organization (Verso 2021): https://projectpppr.org/platforms/the-traumas-of-organization Interview by Nick Dyer-Witheford with Rodrigo Nunes: https://projectpppr.org/platforms/neither-vertical-nor-horizontal-interview-with-rodrigo-nunes Diane DiPrima: https://de.wikipedia.org/wiki/Diane_DiPrima  Regarding scarcity in liberalism see the Future Histories Episode with Ute Tellman as well as: Tellmann, Ute. 2017. Life and money: The genealogy of the liberal economy and the displacement of politics. Columbia University Press.: http://cup.columbia.edu/book/life-and-money/9780231182263   Further Future Histories Episodes on related topics S02E10 | Aaron Benanav on Associational Socialism and Democratic Planning: https://www.futurehistories.today/episoden-blog/s02/e10-aaron-benanav-on-associational-socialism-and-democratic-planning/ [German] S01E47 | Stefan Meretz zu Commonismus: https://www.futurehistories.today/episoden-blog/s01/e47-stefan-meretz-zu-commonismus/ S01E31 | Daniel E. Saros on Digital Socialism and the Abolition of Capital (Part 1): https://www.futurehistories.today/episoden-blog/s01/e31-daniel-e-saros-on-digital-socialism-and-the-abolition-of-capital-part-1/   (German) Episoden zum Thema alternative Regierungskünste S02E25 | Bini Adamczak zu Beziehungsweisen: https://www.futurehistories.today/episoden-blog/s02/e25-bini-adamczak-zu-beziehungsweisen/ S02E24 | Gabriel Kuhn zu anarchistischer Regierungskunst: https://www.futurehistories.today/episoden-blog/s02/e24-gabriel-kuhn-zu-anarchistischer-regierungskunst/ S02E08 | Thomas Biebricher zu neoliberaler Regierungskunst: https://www.futurehistories.today/episoden-blog/s02/e08-thomas-biebricher-zu-neoliberaler-regierungskunst/ S02E06 | Alexander Kluge zu Zukünften der Kooperation: https://www.futurehistories.today/episoden-blog/s02/e06-alexander-kluge-zu-zukuenften-der-kooperation/ S02E03 | Ute Tellmann zu Ökonomie als Kultur: https://www.futurehistories.today/episoden-blog/s02/e03-ute-tellmann-zu-oekonomie-als-kultur/ S01E53 | Kalle Kunkel zu Herrschaftstechnologien in der Krise: https://www.futurehistories.today/episoden-blog/s01/e53-kalle-kunkel-zu-herrschaftstechnologien-in-der-krise/ S01E25 | Joseph Vogl zur Krise des Regierens: https://www.futurehistories.today/episoden-blog/s01/e25-joseph-vogl-zur-krise-des-regierens/ S01E11 | Frieder Vogelmann zu alternativen Regierungskünsten: https://www.futurehistories.today/episoden-blog/s01/e11-frieder-vogelmann-zu-alternativen-regierungskuensten/   Find a collection of Future Histories episodes related to democratic economic planning here: https://www.listennotes.com/playlists/zeitgen%C3%B6ssische-planwirtschaft-in-future-S9jTkXfb-gp/episodes/ If you like Future Histories, you can help with your support on Patreon: https://www.patreon.com/join/FutureHistories? Write me at office@futurehistories.today and join the discussion on Twitter (#FutureHistories): https://twitter.com/FutureHpodcast or on Reddit: https://www.reddit.com/r/FutureHistories/ or on YouTube: https://www.youtube.com/channel/UCfRFz38oh9RH73-pWcME6yw www.futurehistories.today   Episode Keywords: #FutureHistories, #FutureHistoriesInternational, #Podcast, #JanGroos, #Interview, #Biocommunism, #Dyer-Witheford, #Commonism, #Platforms, #Biocommie, #HelenHester, #NickSrnicek, #AlexWilliams, #Accelerationism, #Ecosocialism, #Rationing, #PowerandCatastrophe, #Capitalism, #AaronBenanav, #Postcapitalism, #Polycrisis, #EconomicPlanning, #Crisis, #Capital, #Rationing, #Hegemony, #Governmentality, #Foucault, #RadicalTransformation, #SocialTransformation, #Democracy, #Socialism, #DesasterCapitalism, #PoliticalEconomy, #Scarcity, #Communism

Nick Dyer-Witheford on biocommunism, "a communism emerging from the catastrophes capital now inflicts throughout the bios, the realm of life itself". Future Histories InternationalFind all English episodes of Future Histories here:https://futurehistories-international.com/and subscribe to the Future Histories International RSS-Feed (English episodes only) ShownotesNick Dyer-Witheford (University of Western Ontario):https://www.fims.uwo.ca/people/profiles/nick_dyer-witheford.html Dyer-Witheford, Nick. 2022. Biocommie: Power and Catastrophe.:https://projectpppr.org/populisms/biocommie-power-and-catastrophePPPR - Platforms, Populisms, Pandemics and Riots (Research Project):https://projectpppr.org/Dyer-Witheford, Nick. 2013. Red plenty platforms. Culture Machine 14 (PDF).:http://svr91.edns1.com/~culturem/index.php/cm/article/view/511/526Dyer-Witheford, Nick. 2007. Commonism. Turbulence 1:http://www.turbulence.org.uk/turbulence-1/commonism/index.html Dyer-Witheford, Nick. 1999. Cyber-Marx: Cycles and circuits of struggle in high-technology capitalism. University of Illinois Press.:https://www.press.uillinois.edu/books/?id=p067952Dyer-Witheford, Nick. 2015. Cyber-proletariat: Global labour in the digital vortex. London: Pluto Press. (PDF available):http://digamo.free.fr/dyerwith.pdfDyer-Witheford, Nick, Atle Mikkola Kjøsen, and James Steinhoff. 2019. Inhuman power. Artificial intelligence and the future of capitalism. London: Pluto Press.:https://www.plutobooks.com/9780745338606/inhuman-power/ Further ShownotesBastani, Aaron. 2019. Fully Automated Luxury Communism. London: Verso.:https://www.versobooks.com/books/3156-fully-automated-luxury-communismHelen Hester:https://www.uwl.ac.uk/staff/helen-hesterLaboria Cuboniks Collective. 2018. The Xenofeminist Manifesto: A Politics for Alienation. London: Verso:https://www.versobooks.com/books/2887-the-xenofeminist-manifestoSrnicek, Nick und Alex Williams. 2016. Inventing the Future. London: Verso:https://www.versobooks.com/books/2315-inventing-the-futureTooze, Adam. 2021. Shutdown: How Covid Shook the World Economy. New York: Viking.:https://www.penguinrandomhouse.com/books/669575/shutdown-by-adam-tooze/The New Age of Catastrophe - Alex Callinicos's Farewell Lecture:https://www.youtube.com/watch?v=C-DTifOGfM4Negri, Antonio. 2005. Crisis of the Crisis State. Libcom:https://libcom.org/library/crisis-state-antonio-negriTerranova, Tiziana. 2009. Another Life: The Nature of Political Economy in Foucault's Genealogy of Biopolitics., Theory, Culture & Society, 26(6), 234–65.:https://journals.sagepub.com/doi/10.1177/0263276409352193Fraser, Nancy. 2016. Contradictions of Capital and Care. New Left Review 100, 99-117.:https://newleftreview.org/issues/ii100/articles/nancy-fraser-contradictions-of-capital-and-careKlein, Naomi. 2008. The Shock Doctrine: The Rise of Disaster Capitalism. New York: Picador.:https://www.penguin.co.uk/books/55595/the-shock-doctrine-by-naomi-klein/9780141024530Buck, Holly Jean. 2021. Ending fossil fuels: Why net zero is not enough. Verso.:https://www.versobooks.com/books/3879-ending-fossil-fuelsCox, Stan. 2013. Any way you slice it: the past, present, and future of rationing. The New Press.:https://thenewpress.com/books/any-way-you-slice-itBenanav, Aaron. 2020. Automation and the Future of Work. London: Verso.:https://www.versobooks.com/books/4029-automation-and-the-future-of-workJameson, Fredric. 2016. An American utopia. Dual Power and the Universal Army. London: Verso, 1-96.:https://www.versobooks.com/books/2118-an-american-utopiaDoctorow, Cory. 2020. Full Employment. Locus Magazine:https://locusmag.com/2020/07/cory-doctorow-full-employment/Out of the Woods. 2018. The Uses of Disaster. Commune Magazine: https://communemag.com/the-uses-of-disaster/ Out of the Woods. 2020. Hope Against Hope: Writings on Ecological Crisis. New York: Common Notions.:https://libcom.org/article/hope-against-hope-out-woods-book-coming-soonFoucault, Michel, & Michel Senellart (transl.). 2008. The Birth of Biopolitics: Lectures at the Collège de France, 1978-79. Palgrave Macmillan:https://us.macmillan.com/books/9780312203412/thebirthofbiopolitics[German] Sutterlütti, Simon & Meretz, Stefan. 2018. Kapitalismus aufheben. Hamburg: VSA Verlag. (PDF verfügbar):https://www.rosalux.de/fileadmin/rls_uploads/pdfs/sonst_publikationen/VSA_Sutterluetti_Meretz.pdfMalm, Andreas. 2020. Corona, Climate, Chronic Emergency: War Communism in the Twenty-First Century. London: Verso.:https://www.versobooks.com/books/3704-corona-climate-chronic-emergency Nunes, Rodrigo. 2021. Neither vertical nor horizontal: A theory of political organization. London: Verso.:https://www.versobooks.com/books/3810-neither-vertical-nor-horizontalExcerpt from Neither Vertical nor Horizontal: A Theory of Political Organization (Verso 2021):https://projectpppr.org/platforms/the-traumas-of-organizationInterview by Nick Dyer-Witheford with Rodrigo Nunes:https://projectpppr.org/platforms/neither-vertical-nor-horizontal-interview-with-rodrigo-nunesDiane DiPrima:https://de.wikipedia.org/wiki/Diane_DiPrima Regarding scarcity in liberalism see the Future Histories Episode with Ute Tellman as well as:Tellmann, Ute. 2017. Life and money: The genealogy of the liberal economy and the displacement of politics. Columbia University Press.:http://cup.columbia.edu/book/life-and-money/9780231182263 Further Future Histories Episodes on related topicsS02E10 | Aaron Benanav on Associational Socialism and Democratic Planning:https://www.futurehistories.today/episoden-blog/s02/e10-aaron-benanav-on-associational-socialism-and-democratic-planning/[German] S01E47 | Stefan Meretz zu Commonismus:https://www.futurehistories.today/episoden-blog/s01/e47-stefan-meretz-zu-commonismus/S01E31 | Daniel E. Saros on Digital Socialism and the Abolition of Capital (Part 1):https://www.futurehistories.today/episoden-blog/s01/e31-daniel-e-saros-on-digital-socialism-and-the-abolition-of-capital-part-1/ (German) Episoden zum Thema alternative RegierungskünsteS02E25 | Bini Adamczak zu Beziehungsweisen:https://www.futurehistories.today/episoden-blog/s02/e25-bini-adamczak-zu-beziehungsweisen/S02E24 | Gabriel Kuhn zu anarchistischer Regierungskunst:https://www.futurehistories.today/episoden-blog/s02/e24-gabriel-kuhn-zu-anarchistischer-regierungskunst/S02E08 | Thomas Biebricher zu neoliberaler Regierungskunst:https://www.futurehistories.today/episoden-blog/s02/e08-thomas-biebricher-zu-neoliberaler-regierungskunst/S02E06 | Alexander Kluge zu Zukünften der Kooperation:https://www.futurehistories.today/episoden-blog/s02/e06-alexander-kluge-zu-zukuenften-der-kooperation/S02E03 | Ute Tellmann zu Ökonomie als Kultur:https://www.futurehistories.today/episoden-blog/s02/e03-ute-tellmann-zu-oekonomie-als-kultur/S01E53 | Kalle Kunkel zu Herrschaftstechnologien in der Krise:https://www.futurehistories.today/episoden-blog/s01/e53-kalle-kunkel-zu-herrschaftstechnologien-in-der-krise/S01E25 | Joseph Vogl zur Krise des Regierens:https://www.futurehistories.today/episoden-blog/s01/e25-joseph-vogl-zur-krise-des-regierens/S01E11 | Frieder Vogelmann zu alternativen Regierungskünsten:https://www.futurehistories.today/episoden-blog/s01/e11-frieder-vogelmann-zu-alternativen-regierungskuensten/ Find a collection of Future Histories episodes related to democratic economic planning here:https://www.listennotes.com/playlists/zeitgen%C3%B6ssische-planwirtschaft-in-future-S9jTkXfb-gp/episodes/If you like Future Histories, you can help with your support on Patreon:https://www.patreon.com/join/FutureHistories?Write me at office@futurehistories.today and join the discussion on Twitter (#FutureHistories):https://twitter.com/FutureHpodcastor on Reddit:https://www.reddit.com/r/FutureHistories/or on YouTube:https://www.youtube.com/channel/UCfRFz38oh9RH73-pWcME6ywwww.futurehistories.today Episode Keywords:#FutureHistories, #FutureHistoriesInternational, #Podcast, #JanGroos, #Interview, #Biocommunism, #Dyer-Witheford, #Commonism, #Platforms, #Biocommie, #HelenHester, #NickSrnicek, #AlexWilliams, #Accelerationism, #Ecosocialism, #Rationing, #PowerandCatastrophe, #Capitalism, #AaronBenanav, #Postcapitalism, #Polycrisis, #EconomicPlanning, #Crisis, #Capital, #Rationing, #Hegemony, #Governmentality, #Foucault, #RadicalTransformation, #SocialTransformation, #Democracy, #Socialism, #DesasterCapitalism, #PoliticalEconomy, #Scarcity, #Communism

With such rampant inequality across the globe, it's difficult to imagine that in the near future, society could be a place of abundance where everyone has education, healthcare, or housing. But for journalist Aaron Bastani, this improved state of affairs is not off limits; in fact, he believes that, with technology, a better world could be closer than we think. In this episode, Aaron speaks to how and why we should leverage the technological revolution to confront the global challenges of the 21st century. You can read more of his ideas in his much-discussed book Fully Automated Luxury Communism.

Fully automated luxury communism. Fully automated luxury gay space communism..? Fully automated, queer, neo-decadent, meta-modern communism? Okay so, what does all of that mean? You've probably heard the phrase fully automated luxury communism before, whether in a podcast like this, or in a meme maybe, but what exactly does it mean? Maybe the phrase conjures up images of a utopian, moneyless society where all of our jobs have been taken by robots and we just frolic and play all day? Perhaps it evokes ideas of a Starship Enterprise tech utopian world marked by adventures and quests. Maybe it's something in between. In this conversation we've brought on two guests to explain what fully automated luxury communism is, what some different iterations of it might look like, why it's an important Northstar for the left to reach for, and how we might get there. Zarinah Agnew is a trained neuroscientist formerly at University College London, and then UCSF, a self-described guerrilla scientist, and part of the Beyond Return organization. And Eric Wycoff Rogers is a scholar, organizer, designer, artist, and currently PhD student in American history at Cambridge and also part of the Beyond Return organization. This episode's cover art was designed and illustrated by Instagram's @ radleftdad and @ adorable_communism_too. Thank you to Archie James Cavanaugh for the intermission music. Upstream theme music was composed by Robert Raymond. Support for this episode was provided by the Guerrilla Foundation and by listeners like you. Upstream is a labor of love — we couldn't keep this project going without the generosity of our listeners and fans. Please consider chipping in a one-time or recurring donation at www.upstreampodcast.org/support Also, if your organization wants to sponsor one of our upcoming episodes, we have a number of sponsorship packages available. Find out more at upstreampodcast.org/sponsorship For more from Upstream, visit www.upstreampodcast.org and follow us on social media: twitter.com/UpstreamPodcast Instagram.com/upstreampodcast You can also subscribe to us on Apple Podcast and Spotify: Apple Podcast: https://podcasts.apple.com/us/podcast/upstream/id1082594532 Spotify: spoti.fi/2AryXHs

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KMO welcomes Professor Nicholas Kiersey to the C-Realm to talk about the guiding principles that could lead technological humanity to a post-scarcity, post-capitalist existence in which nobody has to toil, and everyone has everything they need to live a fulfilling and dignified life. Seem unlikely? Prof. Nick isn't here to argue for the technical feasibility.…

วาระนี้ #Analysand มาพูดคุยเรื่อง Fully Automated Luxury Communism ซึ่งเป็นเรื่องเบาๆ พักสมองจากเรื่องทฤษฎีกันอีกครั้ง รอบนี้คุยสบายๆ ว่าด้วยเศรษฐกิจและความเป็นไปได้ของสังคมที่ก้าวข้ามความขาดแคลน . ขอขอบคุณสหายศิริวัชรผู้ช่วยปรับ/ตัดแต่งเสียง ครั้งนี้เราไม่ได้ใช้สตูดิโอ เนื่องจากอัดเสียงทางไกล เสียงอาจไม่คมชัดเหมือนเท่าใด แต่ฟังได้แน่นอนครับ . เช่นเคย หากผู้ฟังท่านใดสนใจติชมสามารถ comment ไว้ได้ที่ SoundCloud, YouTube, @the_analysand ใน Twitter, หรือส่ง E-mail มาได้ที่ analysand@protonmail.com ครับ . ข้อมูลเพิ่มเติม ========== - Novara Media คือสื่อฝ่ายซ้ายจากสหราชอาณาจักร สนใจโปรดดู https://novaramedia.com/ . - Aaron Bastani (เกิด 1984) นักข่าวและหนึ่งในสมาชิกก่อตั้ง Novara Media ซึ่งเราได้นำหนังสือของเขามาพูดในวันนี้ นั่นก็คือ Aaron Bastani, Fully Automated Luxury Communism: A Manifesto (London ; New York: Verso, 2019). - Moses Hess (1812-1875) คอมมิวนิสต์ยุคแรกๆ (ก่อนที่ Karl Marx จะเรียกตัวเองว่า Communist) มีผลงานเช่น Hess, Moses. 2012. Cambridge Texts in the History of Political Thought: Moses Hess: The Holy History of Mankind and Other Writings, ed. by Shlomo Avineri (Cambridge, England: Cambridge University Press). - Thomas Robert Malthus (1766-1834) นักเศรษฐศาสตร์กระฎุมพีชื่อดัง มีผลงานเช่น Malthus, T. R. 2008. T. R. Malthus: Principles of Political Economy: Volume 1, ed. by John Pullen (Cambridge, England: Cambridge University Press). - Noam Chomsky (เกิด 1928) นักกิจกรรมทางการเมืองชาวอเมริกัน หรือในทางวิชาการหลายคนอาจรู้จักเขาในนามนักภาษาศาสตร์ ผลงานล่าสุดของเขาคือ Noam, Chomsky, and Marv Waterstone. 2021. Consequences of Capitalism (Chicago, IL: Haymarket Books) . - เรื่องดวงอาทิตย์เทียมในเกาหลีใต้ โปรดดู https://phys.org/news/2020-12-korean-artificial-sun-world-sec-long.html - เรื่อง Communism & Socialism ในยุค Karl Marx โปรดดู Sven-Eric Liedman, A World to Win: The Life and Works of Karl Marx (London ; Brooklyn, NY: Verso, 2018). - Paper เรื่องยาปฏิชีวินะที่ปฐมพงศ์พูดถึง คือ B. Spellberg and others, ‘The Epidemic of Antibiotic-Resistant Infections: A Call to Action for the Medical Community from the Infectious Diseases Society of America', Clinical Infectious Diseases, 46.2 (2008), 155–64. - เรื่อง The Human Genome Project โปรดดู https://www.genome.gov/human-genome-project - คอร์สเรียนออนไลน์เรื่อง Genome ที่ปฐมพงศ์พูดถึงโปรดดู https://www.futurelearn.com/courses/whole-genome-sequencing - เรื่องข้อตกลงทางอวกาศระหว่างสหรัฐอเมริกากับสหภาพสาธารณรัฐสังคมนิยมโซเวียตโปรดดู https://www.govtrack.us/congress/bills/85/hr12575/text ส่วนข่าวเรื่องประธานาธิบดีทรัมป์เซ็นให้เอกชนสามารถนำทรัพยากรในอวกาศมาเป็นกรรมสิทธิ์ (property) ได้ โปรดดู https://phys.org/news/2020-04-trump-moon-asteroids.html - คลิปอ.สรวิศพูดเรื่องต่างๆ ที่ปฐมพงศ์พูดถึง เช่นเรื่องทรัพยากรธรรมชาติในยุคทุนนิยม โปรดดู https://youtu.be/bCrYahhH3qk - เรื่องโรจาวา โปรดดูคลิปของ 'พูด' ใน https://youtu.be/ZNRslk-9RdI และสามารถอ่านบทความของ Dindeng ได้ใน www.dindeng.com/rojava/ - เรื่องเครื่องพิมพ์สามมิติกับความปราถนาดีของรัฐบาลลุงตู่ โปรดดู https://www.blognone.com/node/78242 หรืออ่านใน มติคณะรัฐมนตรี วันที่ 23 กุมภาพันธ์ 2559 ได้ครับ - สนใจบทวิเคราะห์ภาพยนตร์ ฟรีแลนซ์: ห้ามป่วย ห้ามพัก ห้ามรักหมอ (GMM Tai Hub, Jorkwang Films, 2015) โปรดดู http://www.dindeng.com/freelance-the-protestant-work-ethic-th/ - ภาพยนตร์ Spider-Man ที่ปฐมพงศ์พูดถึงคือ Sam Raimi, Spider-Man 2 (Columbia Pictures, Marvel Enterprises, Laura Ziskin Productions, 2004). . - White Collar Labour หรือ แรงงานคอปกขาว โดยทั่วไปหมายถึงแรงงานทำงานที่ 'มีทักษะ' ต่างๆ เช่น ผู้จัดการ พนักงานออฟฟิศ หรืองานวิชาชีพต่างๆ . แก้ไขข้อผิดพลาดที่เกินอภัย =================== - ประมาณ ณ เวลา 27.50 ปฐมพงศ์พูดผิด ขออนุญาตแก้ไขว่า 'กำลังการผลิต' ควรจะเป็น 'อำนาจทางการเมืองของชนชั้นแรงงาน'

I'm Philip Holden and this is Ideas in Writing - the podcast where we talk to people who use words - written, spoken, performed and even sung and, why not, hand drawn? The guests bring along a word and so do I...it's all downhill from there on...In this episode I talk to the brilliant Sophie and Scarlett Rickard creators of a graphic novel version of The Ragged Trousered Philanthropists – the hugely influential book by Robert Tressell is long and sometimes difficult to read but this version ISN'T!, This is a really emotional and moving story (that happens to explain capitalism) and which tells the story of the people who suffer most.We talk about how the Rickard Sisters started writing and drawing in Whalley in Lancashire, just up the road from where I was born, the difficulties of adapting a huge book, how they work remotely, their admiration for TV and film adaptations and a bit about politics and bookshops.The word Sophie and Scarlett brought along was philanthropy and we discuss that a little, whilst mine was sketch. You can explore these words at the fun Visuwords dictionary by clicking them.Ideas in Writing is produced with the support of Mr Books Bookshop in Tonbridge - the home of inspiring, imaginative and intelligent books, gifts and conversation. They're on Twitter too @mrbooks_ton. But most importantly of all, you can visit them (in the lovely market town of Tonbridge in Kent) for a browse any Wednesday to Saturday 10am to 5pm.Don't forget to subscribe for new episodes coming up.CREDITS & linksSophie and Scarlett’s The Ragged Trousered Philanthropists (Self Made Hero, £14.39) and Mann's Best Friend (Gluepot Books, £14.95) can be ordered from Mr Books.Sophie mentioned – Fully Automated Luxury Communism by Aaron Bastani (verso, £9.00) which you can also order from Mr Books.We all raved about Allan and Janet Ahlberg – you can see more of their books at our list of essential children’s books.You can contribute to the Rickard Sisters Ragged Education Project – buying a book for a school, a prison or a pupil referral unit by visiting their website here.Ideas in Writing is recorded and produced by Philip Holden using Zencastr and Acast.comThe Ideas in Writing theme "Farting Around" is by Kevin MacLeod Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/The "Light Easy March" sting is by ...dog http://www.besonic.com/dogSupport this show http://supporter.acast.com/ideasinwriting. See acast.com/privacy for privacy and opt-out information.

I'm Philip Holden and this is Ideas in Writing - the podcast where we talk to people who use words - written, spoken, performed and even sung and, why not, hand drawn? The guests bring along a word and so do I...it's all downhill from there on...In this episode I talk to the brilliant Sophie and Scarlett Rickard creators of a graphic novel version of The Ragged Trousered Philanthropists – the hugely influential book by Robert Tressell is long and sometimes difficult to read but this version ISN'T!, This is a really emotional and moving story (that happens to explain capitalism) and which tells the story of the people who suffer most.We talk about how the Rickard Sisters started writing and drawing in Whalley in Lancashire, just up the road from where I was born, the difficulties of adapting a huge book, how they work remotely, their admiration for TV and film adaptations and a bit about politics and bookshops.The word Sophie and Scarlett brought along was philanthropy and we discuss that a little, whilst mine was sketch. You can explore these words at the fun Visuwords dictionary by clicking them.Ideas in Writing is produced with the support of Mr Books Bookshop in Tonbridge - the home of inspiring, imaginative and intelligent books, gifts and conversation. They're on Twitter too @mrbooks_ton. But most importantly of all, you can visit them (in the lovely market town of Tonbridge in Kent) for a browse any Wednesday to Saturday 10am to 5pm.Don't forget to subscribe for new episodes coming up.CREDITS & linksSophie and Scarlett's The Ragged Trousered Philanthropists (Self Made Hero, £14.39) and Mann's Best Friend (Gluepot Books, £14.95) can be ordered from Mr Books.Sophie mentioned – Fully Automated Luxury Communism by Aaron Bastani (verso, £9.00) which you can also order from Mr Books.We all raved about Allan and Janet Ahlberg – you can see more of their books at our list of essential children's books.You can contribute to the Rickard Sisters Ragged Education Project – buying a book for a school, a prison or a pupil referral unit by visiting their website here.Ideas in Writing is recorded and produced by Philip Holden using Zencastr and Acast.comThe Ideas in Writing theme "Farting Around" is by Kevin MacLeod Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/The "Light Easy March" sting is by ...dog http://www.besonic.com/dog See acast.com/privacy for privacy and opt-out information.

This recording was made from a live taping session during 'Whisperfest 2020' in front of a live crowd of around 70 people on Zoom.  In this episode, Jason and Inger tell their origin story, although they argue about the dried apricot analogy bit. Inger outs Jason as being 'Dave' in her most popular Thesis Whisperer post ever: 'The Valley of Shit'. Dave is internet famous because this post has more downloads than any other and - more importantly - has been spotted stuck to the back of doorways in university bathroom stalls. In the work problems segment, the duo tackle other people's problems, including how much to invest in software that your organisation won't provide to you, being your own PR rep, setting boundaries around social media and their top 3 favourite pieces of software that aren't Omnifocus. If you want to be on the Reg like Kate Gambier was, leave a message for the team on Speakpipe.Jason chooses three mac apps: Horo, Divvy, Hazel and the paper based Chronodex system.Inger chooses two mac apps Scrivener and the Timing app and name checks her awesome Twitter brains trust.Jason has ruled out Inger counting audio books as reading, so she can't review Too Much and Never Enough by Mary Trump, niece of that orange guy who used to be president (which is a pity, because it's amazing and like TOTALLY explains what is happening in the US right now). Jason has started reading Anti-Fragile: things that gain from disorder by Nassim Taleb, although he's finding the tiny text size annoying. Inger is reading Fully Automated Luxury Communism by Aaron Bastoni and is not sure if she should take it seriously or not. In her review she quotes from a review of the book in the Guardian by Andy Beckett.Whisperfest was a free, online community building event Inger ran with her Whisper collective mates: Tseen Khoo and Jonathan O'Donnell from The ResearLeave us a message on www.speakpipe.com/thesiswhisperer. Email Inger, she's easy to find. You will not be able to find Jason's email (he likes it that way).Talk to us on BlueSky by following @thesiswhisperer and @drjd. Inger is sadly addicted to Threads, but cannot convince JD to join. You can find her there, and on all the Socials actually, as @thesiswhisperer. You can read her stuff on www.thesiswhisperer.com. You can support the pod by buying our Text Expander guide for academics from the Thesis Whisperer website.

Paris Marx is joined by Aaron Benanav to discuss why jobs are getting worse because the economy’s slowing down, not because technology is speeding up, and why that requires a vision of post-scarcity centered around human relationships instead of technological change.Aaron Benanav is an economic historian and social theorist. He is a post-doctoral researcher at Humboldt University of Berlin and author of “Automation and the Future of Work.” Follow Aaron on Twitter as @abenanav.Tech Won’t Save Us offers a critical perspective on tech, its worldview, and wider society with the goal of inspiring people to demand better tech and a better world. Follow the podcast (@techwontsaveus) and host Paris Marx (@parismarx) on Twitter.Find out more about Harbinger Media Network and follow it on Twitter as @harbingertweets.Also mentioned in this episode:Prop 22 passed in California, stopping gig workers from becoming employeesParis explains the limits of a basic income, how Aaron’s book helps us think about the future, and the problems with luxury communismAaron explains why automation isn’t wiping out jobsAaron’s science fiction reading list: “The Dispossessed,” “The Word for World is Forest,” and “Always Coming Home” by Ursula K. Le Guin; “Red Star” by Alexander Bogdanov; “Hard to be a God” and “Noon: 22nd Century” by Arkady and Boris Strugatsky; “News from Nowhere” by William Morris; “Looking Backward” by Edward Bellamy; “The Conquest of Bread” by Peter Kropotkin; “Trouble on Triton” by Samuel R. Delaney; “Star Maker” by Olaf Stapledon; and “Utopia” by Thomas Moore.Support the show (https://patreon.com/techwontsaveus)

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Pugilist - Untitled [Nous'klaer Audio] Paleman - Worm Field [Paleman] Flørist - Biased [Radiant Love] Aleksi Perälä - FI3AC2035060 [Aleksi Perälä] Artefakt - Icarus [Delsin Records] Consulate - Full Metal Glasnot [Bitterfield] Zeki 808 - The Beach [Ilian Tape] Zenker Brothers - Bengel Mode [Ilian Tape] Cassegrain - Clear Sights [Arcing Seas] Kero - Southfield [Detroit Underground] Modig - Pikes [Soma] Surgeon - THX1139 (pm) [SRX] Good Room - Maureen [Sticky Ground] Reflec - Chrysalis [Lobster Theremin] LFH - Whispers [Digital Distortions] Fedele - Riot Revolte (DJ Hell Remix) [Turbo] Inox Traxx - Obstacles [Overbalance] Ross Alexander - Jaw Breaker [Forte Techno] HVN - Ode Kuk [Armatura] Six Sigma - Saxifrage [Digital Distortions] Dave Tarrida - Mental Gymnastics [Varvet] Identified Patient - Lust Mountain [Dekmantel] Rhyw - Stare Me Down [Fever AM] Forward Strategy Group - Code#3 [Perc Trax] Jerome Hill - Snap [Don't] Casper Hastings - Reinvention [Sticky Ground] Surgeon - Crater 101 [Ilian Tape] Paranoid London - FEELIN BUTTS [Paranoid London] Woody McBride - Dark & Low [NovaMute] FJAAK - PAL [FJAAK] The Advent - Human Form [Klockworks] Surgeon - Place Of Angels [Ilian Tape]

Date: 19th August, 2020. In today’s episode we chat to Holly McQuillan. Holly McQuillan’s work in the field of zero waste fashion design, articulates sustainable fashion systems and practice. She focuses on issues such as transition design, the impact of technology and how these can challenge established design, production and use practices. Holly co-authored Zero Waste Fashion Design with Timo Rissanen and together they are currently writing the second edition. She also co-curated Yield: Making fashion without making waste, the first contemporary exhibition focussing on zero waste fashion, and developed the award winning open-source zero waste resource Make/Use. Her work always seeks to broaden the impact of zero waste and sustainable fashion design through research, publication, workshops and lectures. Currently she is a PhD candidate in Artistic Research at the Swedish School of Textiles exploring zero waste systems thinking through the innovative design and production of textile-forms. We chat about zero-waste design thinking, aesthetics, using technology for fashion futures, evolving designer roles, fashion post-covid and so much more. This was one expansive conversation that we hope you’ll enjoy! Resources + Mentions: - Website - https://hollymcquillan.com/ - Instagram - @holly_mcquillan Make/ Use - https://makeuse.nz/ - Zero Waste Design Collective - https://www.zerowastedesignonline.com/ - Timo Rissanen - https://timorissanen.com/about/ - Doughnut Economics by Kate Raworth - https://www.kateraworth.com/doughnut/ - Clo3D digital fashion software - https://www.clo3d.com/ - Kathryn Walters Textiles - https://www.kmwalters.com/ - Earth Logic Fashion Action Research Plan - https://earthlogic.info/ - Fully Automated Luxury Communism - https://luxurycommunism.com/about/

Futurist, designer, and ethicist Cennydd Bowles discusses why design often creates as many problems as it solves, the failures of “design thinking,” and the importance of bringing a longer-term perspective to addressing systemic changes.

What do asteroid mining, artificial intelligence and synthetic meat have in common? Fully automated luxury communism! In this episode Lenny and Carlota discuss FALC, Aaron Bastani’s vision of the future, and all the technological and societal changes necessary to bring it about: UBI, solar energy, information technology… in a world beyond work and scarcity.

In dieser Folge reden Paul, Jan und Magnus mit Nick vom Corner Späti Podcast (@cornerspaeti) über die Fuck Boy Lache, unsere neue Genossin Britney Spears und wie Fully Automated Luxury Communism uns mit Hilfe Ender's Game artiger Technologie Nahrung durch deutsche Landwirtschaftssimulator Spieler bescheren könnte. Außerdem reden wir wie jede Woche über Entwicklungen in der Sache um ihr wisst schon was. Ausweispflicht in Berlin: https://twitter.com/KatharinaKoenig/status/1241995205110386694 Katja Kipping, Vermögen wird für Hartz 4 nicht mitberechnet: https://twitter.com/katjakipping/status/1242085313050279940 Der Balkan ist on one: https://twitter.com/ARDstudioWien/status/1242077528820498434 Ausgangssperre mit Ausnahmen von Neues Deutschland: https://twitter.com/freiheitsrechte/status/1242370819738787842 Samstag 19 Uhr Gyrovision mit Corner Späti https://www.twitch.tv/cornerspaeti Coronavirus, aktuelle Zahlen: https://www.n-tv.de/infografik/Coronavirus-aktuelle-Zahlen-Daten-zur-Epidemie-in-Deutschland-Europa-und-der-Welt-article21604983.html Tips gegen Langeweile: Philosophy Tube: https://www.youtube.com/user/thephilosophytube Ska Tune Network: https://www.youtube.com/channel/UCji2l5wcs6GoYJY1GgG_slQ Hbomberguy: https://www.youtube.com/user/hbomberguy Donoteat: https://www.youtube.com/user/donoteat01 Well There's Your Problem: https://www.youtube.com/channel/UCPxHg4192hLDpTI2w7F9rPg Contrapoints: https://www.youtube.com/user/ContraPoints Folgt uns auf Twitter: https://twitter.com/HHHCast Jan: https://twitter.com/YungPatrickOne Paul: https://twitter.com/hat_recht Magnus: https://twitter.com/therealmagnusk Nick: https://twitter.com/sternburgpapi Kommt außerdem auf den (englischsprachigen) Discord unter: leftists.eu

Russell and Horatio discuss technology and fascism. 

In this episode we revisit the topic of Fully Automated Luxury Communism with our friend Annaliese. While we are already on the record opposing the viability and desirability of a socialism without sacrifice, we decided to make a few more critiques we didn't think of making last time, but we also talk a bit about what kinds of futures we would like to see, the nature of work and leisure time, and how much it would suck to have robots do everything. Support the show (http://patreon.com/theregrettablecentury)

Mit Ines Schwerdtner, Chefredakteurin der deutschen Ausgabe des Jacobin Magazins und Ko-Moderatorin des Podcasts halbzehn.fm spreche ich über demokratischen Sozialismus. Interessante und relevante Links zur Folge: Homepage von Jacobin Deutschland https://jacobin.de/ Homepage von Jacobin US https://jacobinmag.com/ Homepage von halbzehn.fm https://halbzehn.fm/about/ "Die Idee des Sozialismus" von Axel Honneth https://www.suhrkamp.de/buecher/die_idee_des_sozialismus-axel_honneth_29824.html Novara Media (Aaron Bastani und Ahs Sarkar werden erwähnt) https://novaramedia.com/ "Fully Automated Luxury Communism" von Aaron Bastani https://www.versobooks.com/books/2757-fully-automated-luxury-communism Ash Sarkar Video "I'm literally a communist, you idiot!" https://www.youtube.com/watch?v=JD7Ol0gz11k Ines spricht über AOC, damit ist Alexandria Ocasio-Cortez gemeint https://de.wikipedia.org/wiki/Alexandria_Ocasio-Cortez Interview mit Juso-Chef Kevin Kühnert zum Thema Sozialismus (Zugang z.B. über Outline) https://www.zeit.de/politik/deutschland/2019-05/kevin-kuehnert-spd-jugendorganisation-sozialismus Text "In and against the state" https://libcom.org/library/against-state-1979 Homepage Deutsche Wohnen & Co. enteignen https://www.dwenteignen.de/ Future Histories Folge mit Rouzbeh Taheri https://castbox.fm/episode/S01E15---Rouzbeh-Taheri-zu-Enteignung%2C-Vergesellschaftung-%26-demokratischem-Sozialismus-id2228584-id203010819?country=de   Wenn euch Future Histories gefällt, dann erwägt doch bitte eine Unterstützung auf Patreon: https://www.patreon.com/join/FutureHistories? Schreibt mir unter future_histories@protonmail.com und diskutiert mit auf Twitter (#FutureHistories): https://twitter.com/FutureHpodcast oder auf Reddit https://www.reddit.com/r/FutureHistories/  www.futurehistories.today

"I don't think these are times when you can sell people a vision of ‘how not only can we save the world, but we can make all of our lives better in the process.' There's too much loss written into the story, too much hardship around and ahead of us, whichever path we take. I think people can smell that, whether or not they want to face it yet. It doesn't mean we give up, it doesn't mean there's nothing left worth fighting for. But it may not be the kind of fight where memories of last century's heroic future are much help."In the last episode for 2019, we come to the Green New Deal and ask whether it represents a reckoning with the ongoing collision with ecological realities, or a way of postponing more difficult conversations. This week's essay touches on the way the political imagination is shaped by the industrial era, the desire to ‘reboot the future' – taken to its extreme in Aaron Bastani's Fully Automated Luxury Communism – and the tendency of the left to treat climate change as a vindication of positions it held all along, as exemplified by Naomi Klein's This Changes Everything. In Notes From Underground, Dougald Hine (co-founder of The Dark Mountain Project) invites us to go deeper into the context of the new climate movements and what they tell us about the moment in which we find ourselvesSupport the show

Apparently, fully automated luxury communism is more than just a meme. We read some articles about it and decided to have a discussion about its merits and shortfalls. Is a post labor society something that is possible or desirable? Is technology really shifting the base of society in a direction that makes fully automated luxury communism more likely? How do we define the concept of luxury and is it really something we'd like perpetuate? Do we as a civilization, species, or planet even have time for something like this to come to fruition before we face total annihilation?Fully automated luxury communism: a utopian critiquehttps://libcom.org/blog/fully-automated-luxury-communism-utopian-critique-14062015Fully Automated Luxury Communism — A Reviewhttps://medium.com/swlh/fully-automated-luxury-communism-a-review-a127d94dcb9aIs a Post-Work, Post-Scarcity Future Possible?https://www.bookforum.com/print/2602/fully-automated-luxury-communism-by-aaron-bastani-22004 FULLY AUTOMATED LUXURY COMMUNISM: A MANIFESTO BY AARON BASTANIhttps://societyandspace.org/2019/09/03/fully-automated-luxury-communism-a-manifesto-by-aaron-bastani/James Bridle on why technology is creating a new dark agehttps://www.theverge.com/2018/7/16/17564174/james-bridle-new-dark-age-book-computational-thinking-interviewAaron Bastani’s ‘luxury communism’ is a false futurehttps://canadiandimension.com/articles/view/fully-automated-luxury-communism-reviewReview: Fully Automated Luxury Communismhttp moo s://www.rs21.org.uk/2019/06/09/review-fully-automated-luxury-communism/Artificial Stupidityhttps://lareviewofbooks.org/article/artificial-stupidity/Inventing The Futurehttps://lareviewofbooks.org/article/on-algorithmic-communism/Support the show (http://patreon.com/theregrettablecentury)

What could desirable imaginary futures look like? Richard Barbrook brings up some very interesting ideas on this question and explores past and present futures in order to work towards different worlds to come.ShownotesRichard on Monoskop:https://monoskop.org/Richard_BarbrookRichard on Twitter:https://twitter.com/richardbarbrook?lang=deHomepage "Imaginary Futures":http://www.imaginaryfutures.net/Homepage "Class Wargames":https://www.classwargames.net/?tag=richard-barbrookBarbrook, Richard und Andy Cameron. 1995. "The Californian Ideology". In Science as Culture 6(1). 44-72:http://www.imaginaryfutures.net/2007/04/17/the-californian-ideology-2/Barbrook, Richard. 2000. "Cyber Communism". In Science as Culture 9(1). 5-40:http://www.imaginaryfutures.net/2007/04/17/cyber-communism-how-the-americans-are-superseding-capitalism-in-cyberspace/Homepage Digital Liberties cooperative:https://digitalliberties.org.uk/Homepage "Games for The Many" (who made e.g. CorbynRun):http://gamesforthemany.org/Homepage Technopolitics Research Group:http://www.technopolitics.info/Hanna, Thomas und Joe Bilsborough. 2018. "The ‘Preston Model' and the modern politics of municipal socialism". In openDemocracy 12(2018):https://www.academia.edu/39696129/The_Preston_Model_and_the_modern_politics_of_municipal_socialism?email_work_card=view-paperWiki on "Austro Marxism":https://en.wikipedia.org/wiki/AustromarxismReport "Alternative Models of Ownership":https://labour.org.uk/wp-content/uploads/2017/10/Alternative-Models-of-Ownership.pdfHomepage "The World Transformed" Festival:https://theworldtransformed.org/Newspeak House (group of political technologists):https://www.nwspk.com/Marx, Karl. 2015. Grundrisse. marxists.org:https://www.marxists.org/archive/marx/works/download/pdf/grundrisse.pdfWiki about Robert Owen:https://en.wikipedia.org/wiki/Robert_OwenArchive of the American Society for Cybernetics:http://asc-cybernetics.org/online-library/Homepage "Virtual Futures":http://www.virtualfutures.co.uk/Richta, Radovan. 1969. Civilization at the Crossroads. New York: Routledge:https://www.taylorfrancis.com/books/9781315177663Phillips, Leigh und Michal Rozworski. 2019. The People's Republic of Walmart. London: Verso:https://www.versobooks.com/books/2822-the-people-s-republic-of-walmartMedina, Eden. 2011. Cybernetic Revolutionaries. Cambridge: MIT Press:https://mitpress.mit.edu/books/cybernetic-revolutionariesStafford Beer on Monoskop (with short video on Project Cybersyn):https://monoskop.org/Stafford_BeerWiki "Project Cybersyn" (socialist cybernetics in Chile):https://en.wikipedia.org/wiki/Project_CybersynBastani, Aaron. 2020. Fully Automated Luxury Communism. London: Verso:https://www.versobooks.com/books/2757-fully-automated-luxury-communismHomepage Novara Media (of which Aaron Bastani is a co-founder):https://novaramedia.com/Morozov, Evgeny. 2019. “Digital Socialism". In New Left Review 116/117:https://newleftreview.org/issues/II116/articles/evgeny-morozov-digital-socialismCampaign for a 4-Day-Week:https://www.4dayweek.co.uk/German campaign for a 4-Day-Week:https://www.4tagewoche.de/Exhibition "Red Vienna" at the MUSA in Vienna:https://www.wienmuseum.at/en/exhibitions/upcoming/detail/das-rote-wien-1919-1934.htmlKeynes, John Maynard. 1930. “Economic Possibilities for our Grandchildren”. In Essays in Persuasion. New York: Harcourt Brace. 358-373:https://assets.aspeninstitute.org/content/uploads/files/content/upload/Intro_and_Section_I.pdfWiki Charles Fourier:https://en.wikipedia.org/wiki/Charles_FourierWiki ARPANET:https://en.wikipedia.org/wiki/ARPANETWiki RAND Corporation:https://en.wikipedia.org/wiki/RAND_CorporationWiki "Austrian School of Economics":https://en.wikipedia.org/wiki/Austrian_SchoolWiki Friedrich Hayek:https://en.wikipedia.org/wiki/Friedrich_HayekWiki "Road to Serfdom" by Hayek:https://en.wikipedia.org/wiki/The_Road_to_SerfdomThematisch angrenzende Future Histories Episoden:Was ist die Kalifornische Ideologie? Future Histories Kurzvideo:https://youtu.be/LedG4UgG3t8 If you like Future Histories, you can support the show on Patreon:https://www.patreon.com/join/FutureHistories?Write me via office@futurehistories.today and join the discussion on Twitter (#FutureHistories):https://twitter.com/FutureHpodcastor on Reddit https://www.reddit.com/r/FutureHistories/or on YouTube: https://www.youtube.com/c/FutureHistoriesPodcast/featuredwww.futurehistories.today Episode Keywords:#RichardBarbrook, #Interview, #JanGroos, #FutureHistories, #Cybernetics, #Kybernetik, #Podcast, #CalifornianIdeology, #KalifornischeIdeologie, #Hayek, #Monoskop, #AndyCameron, #CyberCommunism, #Communism, #Technopolitics, #Cybersyn, #StaffordBeer, #DigitalSocialism, #EvgenyMorozov, #ImaginaryFutures, #SiliconValley, #Economy, #TheRegulationOfLiberty, #HypermediaResearch, #NetRevolution, #DotComCapitalism, #algorithm, #Algorithmus, #DasRegierenDerAlgorithmen, #AlgorithmischesRegieren

What could desirable imaginary futures look like? Richard Barbrook brings up some very interesting ideas on this question and explores past and present futures in order to work towards different worlds to come.ShownotesRichard on Monoskop:https://monoskop.org/Richard_BarbrookRichard on Twitter:https://twitter.com/richardbarbrook?lang=deHomepage "Imaginary Futures":http://www.imaginaryfutures.net/Homepage "Class Wargames":https://www.classwargames.net/?tag=richard-barbrookBarbrook, Richard und Andy Cameron. 1995. "The Californian Ideology". In Science as Culture 6(1). 44-72:http://www.imaginaryfutures.net/2007/04/17/the-californian-ideology-2/Barbrook, Richard. 2000. "Cyber Communism". In Science as Culture 9(1). 5-40:http://www.imaginaryfutures.net/2007/04/17/cyber-communism-how-the-americans-are-superseding-capitalism-in-cyberspace/Homepage Digital Liberties cooperative:https://digitalliberties.org.uk/Homepage "Games for The Many" (who made e.g. CorbynRun):http://gamesforthemany.org/Homepage Technopolitics Research Group:http://www.technopolitics.info/Hanna, Thomas und Joe Bilsborough. 2018. "The ‘Preston Model' and the modern politics of municipal socialism". In openDemocracy 12(2018):https://www.academia.edu/39696129/The_Preston_Model_and_the_modern_politics_of_municipal_socialism?email_work_card=view-paperWiki on "Austro Marxism":https://en.wikipedia.org/wiki/AustromarxismReport "Alternative Models of Ownership":https://labour.org.uk/wp-content/uploads/2017/10/Alternative-Models-of-Ownership.pdfHomepage "The World Transformed" Festival:https://theworldtransformed.org/Newspeak House (group of political technologists):https://www.nwspk.com/Marx, Karl. 2015. Grundrisse. marxists.org:https://www.marxists.org/archive/marx/works/download/pdf/grundrisse.pdfWiki about Robert Owen:https://en.wikipedia.org/wiki/Robert_OwenArchive of the American Society for Cybernetics:http://asc-cybernetics.org/online-library/Homepage "Virtual Futures":http://www.virtualfutures.co.uk/Richta, Radovan. 1969. Civilization at the Crossroads. New York: Routledge:https://www.taylorfrancis.com/books/9781315177663Phillips, Leigh und Michal Rozworski. 2019. The People's Republic of Walmart. London: Verso:https://www.versobooks.com/books/2822-the-people-s-republic-of-walmartMedina, Eden. 2011. Cybernetic Revolutionaries. Cambridge: MIT Press:https://mitpress.mit.edu/books/cybernetic-revolutionariesStafford Beer on Monoskop (with short video on Project Cybersyn):https://monoskop.org/Stafford_BeerWiki "Project Cybersyn" (socialist cybernetics in Chile):https://en.wikipedia.org/wiki/Project_CybersynBastani, Aaron. 2020. Fully Automated Luxury Communism. London: Verso:https://www.versobooks.com/books/2757-fully-automated-luxury-communismHomepage Novara Media (of which Aaron Bastani is a co-founder):https://novaramedia.com/Morozov, Evgeny. 2019. “Digital Socialism". In New Left Review 116/117:https://newleftreview.org/issues/II116/articles/evgeny-morozov-digital-socialismCampaign for a 4-Day-Week:https://www.4dayweek.co.uk/German campaign for a 4-Day-Week:https://www.4tagewoche.de/Exhibition "Red Vienna" at the MUSA in Vienna:https://www.wienmuseum.at/en/exhibitions/upcoming/detail/das-rote-wien-1919-1934.htmlKeynes, John Maynard. 1930. “Economic Possibilities for our Grandchildren”. In Essays in Persuasion. New York: Harcourt Brace. 358-373:https://assets.aspeninstitute.org/content/uploads/files/content/upload/Intro_and_Section_I.pdfWiki Charles Fourier:https://en.wikipedia.org/wiki/Charles_FourierWiki ARPANET:https://en.wikipedia.org/wiki/ARPANETWiki RAND Corporation:https://en.wikipedia.org/wiki/RAND_CorporationWiki "Austrian School of Economics":https://en.wikipedia.org/wiki/Austrian_SchoolWiki Friedrich Hayek:https://en.wikipedia.org/wiki/Friedrich_HayekWiki "Road to Serfdom" by Hayek:https://en.wikipedia.org/wiki/The_Road_to_SerfdomThematisch angrenzende Future Histories Episoden:Was ist die Kalifornische Ideologie? Future Histories Kurzvideo:https://youtu.be/LedG4UgG3t8 If you like Future Histories, you can support the show on Patreon:https://www.patreon.com/join/FutureHistories?Write me via office@futurehistories.today and join the discussion on Twitter (#FutureHistories):https://twitter.com/FutureHpodcastor on Reddit https://www.reddit.com/r/FutureHistories/or on YouTube: https://www.youtube.com/c/FutureHistoriesPodcast/featuredwww.futurehistories.today Episode Keywords:#RichardBarbrook, #Interview, #JanGroos, #FutureHistories, #Cybernetics, #Kybernetik, #Podcast, #CalifornianIdeology, #KalifornischeIdeologie, #Hayek, #Monoskop, #AndyCameron, #CyberCommunism, #Communism, #Technopolitics, #Cybersyn, #StaffordBeer, #DigitalSocialism, #EvgenyMorozov, #ImaginaryFutures, #SiliconValley, #Economy, #TheRegulationOfLiberty, #HypermediaResearch, #NetRevolution, #DotComCapitalism, #algorithm, #Algorithmus, #DasRegierenDerAlgorithmen, #AlgorithmischesRegieren

Novara Media's Aaron Bastani calls in to talk Brexit before we dive into Fully Automated Luxury Communism, the meme he created way back in the mid '10s, now a book available from Verso. What is luxury? Are we coming closer to FALC with each bite of the Impossible Whopper? Should it more appropriately be called FALKensyianism? Will the Green New Deal lead to FALC or continued late capitalist Dystopia? Bastani answers all these burning questions and more. Follow Aaron Bastani on Twitter: https://twitter.com/AaronBastani Buy the book from Verso (50% off until the end of the month!): https://www.versobooks.com/books/2757-fully-automated-luxury-communism Aaron's Green New Deal piece: https://novaramedia.com/2017/11/19/fully-automated-green-communism/ Some of the critiques of FALC referenced are mentioned in this piece: https://libcom.org/blog/poverty-luxury-communism-05042018 Support the Antifada on Patreon for all our locked bonus episodes and Discord community: https://www.patreon.com/theantifada Closing song: Jamiroquai - Automaton

In this episode: I upset the status quo by spreading propaganda about a better way of living, I discuss suicide in the dentist community, and then a friend makes a surprise visit.Support this podcast with as little as $1/month: www.patreon.com/ThatThingWithJamesInsta & Twit: @jamesjasherWebsite: jamesjasher.comNeed advice? Have an idea for an episode subject? Want to get in touch? Hit me up: ThatThingWithJames@gmail.comDon't forget to rate and review this show, please!The video for this and other episodes is available on my YouTube channel... If you enjoy the show, please subscribe to my channel, "like" the videos you like, write a comment, and share the show with your friends.This podcast is powered by Pinecast.

In this week's podcast, the IEA’s Digital Manager Darren Grimes and Dr Kristian Niemietz discuss two new books in which the authors claim to lay out their socialist alternatives. The first book is Fully Automated Luxury Communism by Aaron Bastani, which explores everything from the route to communism through socialism to Universal Basic Services, but does the book explain why socialism has already been tried more than two dozen times and failed every time without exception? The pair discuss. The second book is called The Socialist Manifesto by Bhaskar Sunkara.

Aaron Bastani, co-founder of Novara media visited Bristol to discuss his new book, Fully Automated Luxury Communism (Verso). Sasha Sadjady (Labour, Acorn, PCS) interviews Aaron, and then we have more than 50 minutes of discussion from the room.

The inaugural episode of Where's My Jetpack, a politics and pop-culture podcast with sci fi and socialist leanings. Your hosts Derek Johnson and Ani White bring you the following segments: 00:00 – Pop quiz: An introduction to your hosts and our interests 1:05:07 – Furious Political Thought: A discussion of averted futures, drawing on David Graeber’s Of Flying Cars and the Declining Rate of Profit, including a critical take on Fully Automated Luxury Communism and a case for ecosocialism. 1:59:11 – Retrofuturistic Retrospective on overlooked 90s movie The Rocketeer, including multiple tangents (part 1 of 2, to be concluded in our second episode). 2:22:33: Ani reports back on a 21-day socialist seminar in the Philippines. The episode features the following music: Where's My Jetpack - Radio Free Babylon Scientist - Big Rick Queer as in Fuck You - Dog Park Dissidents Various - Lakey Inspired Blueshift - Airglow Carinosa - Sylvia La Torre Ala Ala Ay Ikaw - Eddie Peregrina Brush Filter Beat - therealtheremin Articles referenced: The Conquest of Space in the Time of Power, Eduardo Rothe for the Situationist International Of Flying Cars and the Declining Rate of Profit, David Graeber 5 Best Movies with Jetpacks in them, The Retroist Where's My Jetpack is produced by the No Fate Project. Please support our work patreon.com/jetpack1917 Contact us at jetpack1917@gmail.com Facebook.com/JetpackCommunism Twitter.com/Jetpack1917 jetpack.zoob.net

Aaron Bastani joins the podcast to discuss his new book, Fully Automated Luxury Communism: A Manifesto. We touch on automation, gene editing, free energy, and the trajectories the surprising progress of these new technologies could lead us on. Utopian Horizons is a podcast about utopia. Each episode covers a different utopia, dystopia, utopian thinker, or utopian movement, asking what they can tell us about ourselves, our society, and our future. Twitter: @utopianhorizons Support: patreon.com/utopianhorizons Music: The Fiction of Utopian Studies/The Road To Oceania by The Fucked Up Beat.

On the launch day for his new book, Novara Media co-founder Aaron Bastani joins Michael Walker to discuss Fully Automated Luxury Communism. Fully Automated Luxury Communism

On the launch day for his new book, Novara Media co-founder Aaron Bastani joins Michael Walker to discuss Fully Automated Luxury Communism. Fully Automated Luxury Communism

What if you wanted to redefine Communism for the 21st century and accidentally wrote the plot to The Expanse? Novara Media's Aaron Bastani has written Fully Automated Luxury Communism, which extols the virtues of automation, artificial meat and asteroid mines as a means of achieving a socialist utopia. We're joined by Jon and Ash of The Horror Vanguard (https://www.patreon.com/horrorvanguard) for this epic voyage into the world of tomorrow. Music by Fetid: https://listen.20buckspin.com/album/steeping-corporeal-mess And Fuming Mouth: https://fumingmouth.bandcamp.com/ And here's the homunculus video I mention. There's like a whole genre of this: https://www.youtube.com/watch?v=LvGx74hdhOw Here's our patreon, jokers: https://www.patreon.com/DeathSentence

Recording of a debate at the Battle of Ideas Festival 2018. After the fall of the Soviet Union, a broad political consensus emerged that ‘there is no alternative’ to capitalism, which even the 2008 financial crash did little to disturb. But now things appear to be changing, with support for politicians like Jeremy Corbyn and Bernie Sanders who call for a new way of organising the economy. A slew of recent books, epitomised by Paul Mason’s Post-Capitalism, argue that technological innovations have opened up ways to transcend capitalism from within. Are we now seeing the arrival of capitalism’s ‘undertaker’ in the shape of artificial intelligence (AI) and automation? Could it be true - is capitalism’s time nearly up? AARON BASTANIco-founder, Novara Media; author, Fully Automated Luxury Communism: a manifesto ROBERT HARRIESmembership coordinator, education trade association WENDY LIU software developer; editor, economics section, New Socialist NIKOS SOTIRAKOPOULOS lecturer in sociology, York St John University; author, The Rise of Lifestyle Activism: from new left to Occupy PROFESSOR GUY STANDING professorial research associate, SOAS, University of London; author, Basic Income: and how we can make it happen CHAIR: ROB LYONS convenor, Academy of Ideas Economy Forum

In this episode we meet Cory Doctorow (https://en.wikipedia.org/wiki/Cory_Doctorow?utm_source=rss&utm_medium=rss) , sci-fi author and co-founder of Boing Boing (https://boingboing.net/?utm_source=rss&utm_medium=rss) . Cory’s most recent book, Walkaway, (https://en.wikipedia.org/wiki/Walkaway_(Doctorow_novel)?utm_source=rss&utm_medium=rss) is a story of refusing a life of surveillance and control under a high-tech oligarchy and the struggle to live in a post-scarcity (https://en.wikipedia.org/wiki/Post-scarcity_economy?utm_source=rss&utm_medium=rss)  gift economy (https://en.wikipedia.org/wiki/Gift_economy?utm_source=rss&utm_medium=rss)  where even death has been defeated. Over this one hour plus interview we discuss: Whether filesharing & P2P communities have lost the battle to streaming services like Netflix and Spotify, and why the ‘copyfight’ is still important How the European Copyright Directive eats at the fabric of the Web, making it even harder to compete with content giants Why breaking up companies like Google and Facebook might be the only way to restore an internet — and a society — we can all live with. After taking a detour into Cory’s views on cryptocurrency and Bitcoin’s chances of ”bailing out’ an economy saturated with fictitious money,  we move onto discussing Walkaway and a future of ‘Fully Automated Luxury Communism’ versus one of mega-rich plutocrats (think Bezos) controlling the economy — and our lives — via massive machine empires.  How do we exit from a scenario in which machines make everything plentiful — but none of them are owned by us? Showrunner & Host Jamie King (mailto:jamie@stealthisshow.com) | Editor Lucas Marston ( (mailto:lucas@hollagully.com) Hollagully (https://www.hollagully.com/?utm_source=rss&utm_medium=rss) ) (mailto:lucas@hollagully.com) Original Music David Triana (mailto:davidrp8@gmail.com) | Web Production Eric Barch Presented by TorrentFreak (http://torrentfreak.com?utm_source=rss&utm_medium=rss) Sponsored by Private Internet Access (http://privateinternetaccess.com?utm_source=rss&utm_medium=rss) Executive Producers: Mark Zapalac (http://twitter.com/mark_zapalac?utm_source=rss&utm_medium=rss) , Eric Barch (https://twitter.com/ericbarch?utm_source=rss&utm_medium=rss) , Nelson Larios, George Alvarez, Adam Burns, Daniel, Grof. Sponsorship slots are currently full. For future sponsorship opportunities, please email info@stealthisshow.com (mailto:info@stealthisshow.com) (http://www.facebook.com/sharer.php?u=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&t=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&s=100&p[url]=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&p[images][0]=https%3A%2F%2Fstealthisshow.com%2Fwp-content%2Fuploads%2F2018%2F08%2F220px-Cory_Doctorow_portrait_by_Jonathan_Worth_2.jpg&p[title]=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&utm_source=rss&utm_medium=rss) (https://twitter.com/intent/tweet?url=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&text=Hey%20check%20this%20out&utm_source=rss&utm_medium=rss) (https://plus.google.com/share?url=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&utm_source=rss&utm_medium=rss) (http://www.reddit.com/submit?url=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&title=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&utm_source=rss&utm_medium=rss) (http://pinterest.com/pin/create/button/?url=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&media=https%3A%2F%2Fstealthisshow.com%2Fwp-content%2Fuploads%2F2018%2F08%2F220px-Cory_Doctorow_portrait_by_Jonathan_Worth_2.jpg&description=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&utm_source=rss&utm_medium=rss) (http://www.linkedin.com/shareArticle?mini=true&url=https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F&title=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&utm_source=rss&utm_medium=rss) (mailto:?subject=%E2%80%98Printing%20A%20New%20Reality%E2%80%99%2C%20with%20Cory%20Doctorow&body=Hey%20check%20this%20out:%20https%3A%2F%2Fstealthisshow.com%2Fs04e03%2F)

“无产者在这个革命中失去的只是锁链。他们获得的将是整个世界。全世界无产者，联合起来！” 2018年5月5日，是共产主义理论家马克斯诞辰200周年纪念日。他在1848年写的《共产党宣言》曾经是主宰世界三分之一人类的纲领思想。今天，马克斯的思想是已经被埋在柏林的砖瓦下，还是会通过机器人和人工智能重新在21世纪燃起另外一种共产主义的希望？这一期文化土豆特别节目，邀请到北京激发研究所的艺术家宋轶和前《东方历史评论》执行主编方曌和大家一起聊下马克斯的经历、批评他的写作，寻找今天经济学家对他的看法，以及畅想科技和马克思主义结合起来会诞生一种什么样的乌托邦。了解文化土豆，订阅、收听所有往期节目，成为土豆沙发会员，请访问我们的官网：www.culturepotato.com节目中聊到的作品信息：电影《青年马克思》Le jeune Karl Marx豆瓣：http://suo.im/5bbleL《共产党宣言》，马克斯、恩格斯豆瓣：http://suo.im/4zw39n《资本论》，马克斯豆瓣：http://suo.im/5iDmc2英文播客系列《马克斯和马克思主义》Mises Institute: http://suo.im/53Fyvs《二十一世纪资本论》，托马斯·皮凯蒂豆瓣：http://suo.im/4W9lrT《历史决定论的贫困》，卡尔·波普尔豆瓣：http://suo.im/4W9lsR《通往奴役之路》，哈耶克豆瓣：http://suo.im/53FyyG《全自动奢侈共产主义宣言》 Fully Automated Luxury Communism, A Manifesto by Aaron BastaniVerso: http://suo.im/4OD8qgNovara Mediahttp://novaramedia.com编辑推荐话剧《卡尔》Young MarxNT Live: http://suo.im/5q9x2b柏林爱乐数字音乐厅http://suo.im/4W9lx3激发研究所 Institute of Provocationhttps://www.iprovoke.orgIntro 音乐是俄文版的《世界歌》，Outro 音乐是 Droid & Boo 的 Fully Automated Luxury Communism. See acast.com/privacy for privacy and opt-out information.

"Schools should be cathedrals and everyone should have the best teacher in the world"We talk about our respective scientifically-biased educations, the conundrum of where to send one's child to school in this day and age and the disarray of everything. We also share some visions of the ultimate educational system.---- This week's links (unordered) ----[1] Ken Robinson on Education - https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity[2] Save Our Schools - http://saveourschools.uk/[3] Carl Jarvis at Meaning Conference Brighton 2017: http://brighton.meaningconference.co.uk/videos/carl-jarvis.php[4] Fully Automated Luxury Communism - https://www.theguardian.com/sustainable-business/2015/mar/18/fully-automated-luxury-communism-robots-employment[5] Some Twat in a Meeting - http://www.thedailymash.co.uk/news/business/everyone-stuck-in-meeting-because-some-twat-asked-a-question-20180313145848[6] Compulsory Music - https://ideapod.com/derelict-school-becomes-national-leader-making-making-surprising-subject-compulsory/[7] TensorFlow Tutorials - https://www.youtube.com/watch?v=er8RQZoX3yk&list=PL9Hr9sNUjfsmEu1ZniY0XpHSzl5uihcXZ[8] Ostagram - Style Transfer - http://ostagram.ru[9] Steiner Schools - https://www.steinerwaldorf.org/steiner-education/what-is-steiner-education/---- Credits ----Music is by http://michaelforrestmusic.com/Talking is by Ivanka Majic and Michael Forrest---- Follow us on Twitter ----https://twitter.com/ivankahttps://twitter.com/michaelforresthttps://twitter.com/PodcastGrand---- Find us on Facebook ----https://www.facebook.com/grandpodcast/ See acast.com/privacy for privacy and opt-out information.

Novara Media's Aaron Bastani joins Kirsty to discuss his ideas about technology, the future of work and Fully Automated Luxury Communism. NEF on Twitter: www.twitter.com/nef Weekly Economics Podcast on Twitter: www.twitter.com/weeklyeconpod Kirsty Styles on Twitter: www.twitter.com/kirstystyles1 Aaron Bastani on Twitter: www.twitter.com/aaronbastani Produced by James Shield. Programme editor for NEF: Huw Jordan. Help the show by leaving a review: www.getpodcast.reviews/id/970353148 Brought to you by the New Economics Foundation – the independent think tank and charity campaigning for a fairer, sustainable economy. Find out more at www.neweconomics.org. Music this week is by Podington Bear, Juanitos, and Quiet Music for Tiny Robots.