Podcasts about glissant

Benjamin P. Davis's Choose Your Bearing: Édouard Glissant, Human Rights and Decolonial Ethics (Edinburgh University Press 2025) provides one of the first readings, in English or French, of Édouard Glissant as an ethical theorist. What do we in the West owe those who grow our food, sew our clothes and produce our electronics? And what have we always owed one another, but forgotten, avoided, or simply disregarded? Looking back on nearly a century of colonial war and genocide, in 1990 the poet and philosopher Édouard Glissant appealed directly to his readers, calling them to re-orient their lives in service of the political struggles of their time: ‘You must choose your bearing.' Informed by the prayer camps at Standing Rock, and presenting Glissant alongside Stuart Hall, Emmanuel Levinas, Simone Weil, Enrique Dussel, Gloria Anzaldúa and W. E. B. Du Bois, this book offers an urgent ethics for the present – an ethics of risk, commitment and care that together form a new sense of decolonial responsibility. A sequel to the book, Another Humanity: Decolonial Ethics from Du Bois to Arendt, is forthcoming this year. Benjamin P. Davis is an Assistant Professor of Africana Studies and Hispanic Studies at Texas A&M University and a Fellow at the Center on Modernity in Transition. He is the author of Simone Weil's Political Philosophy: Field Notes from the Margins (Rowman & Littlefield 2023) as well as Choose Your Bearing: Édouard Glissant, Human Rights, and Decolonial Ethics (2023) and a sequel, Another Humanity: Decolonial Ethics from Du Bois to Arendt (2025), both published by Edinburgh University Press. Tim Wyman-McCarthy is a Lecturer in the discipline of Human Rights and Associate Director of Graduate Studies at the Institute for the Study of Human Rights and the Department of Sociology at Columbia University. He can be reached at tw2468@columbia.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Benjamin P. Davis's Choose Your Bearing: Édouard Glissant, Human Rights and Decolonial Ethics (Edinburgh University Press 2025) provides one of the first readings, in English or French, of Édouard Glissant as an ethical theorist. What do we in the West owe those who grow our food, sew our clothes and produce our electronics? And what have we always owed one another, but forgotten, avoided, or simply disregarded? Looking back on nearly a century of colonial war and genocide, in 1990 the poet and philosopher Édouard Glissant appealed directly to his readers, calling them to re-orient their lives in service of the political struggles of their time: ‘You must choose your bearing.' Informed by the prayer camps at Standing Rock, and presenting Glissant alongside Stuart Hall, Emmanuel Levinas, Simone Weil, Enrique Dussel, Gloria Anzaldúa and W. E. B. Du Bois, this book offers an urgent ethics for the present – an ethics of risk, commitment and care that together form a new sense of decolonial responsibility. A sequel to the book, Another Humanity: Decolonial Ethics from Du Bois to Arendt, is forthcoming this year. Benjamin P. Davis is an Assistant Professor of Africana Studies and Hispanic Studies at Texas A&M University and a Fellow at the Center on Modernity in Transition. He is the author of Simone Weil's Political Philosophy: Field Notes from the Margins (Rowman & Littlefield 2023) as well as Choose Your Bearing: Édouard Glissant, Human Rights, and Decolonial Ethics (2023) and a sequel, Another Humanity: Decolonial Ethics from Du Bois to Arendt (2025), both published by Edinburgh University Press. Tim Wyman-McCarthy is a Lecturer in the discipline of Human Rights and Associate Director of Graduate Studies at the Institute for the Study of Human Rights and the Department of Sociology at Columbia University. He can be reached at tw2468@columbia.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Benjamin P. Davis's Choose Your Bearing: Édouard Glissant, Human Rights and Decolonial Ethics (Edinburgh University Press 2025) provides one of the first readings, in English or French, of Édouard Glissant as an ethical theorist. What do we in the West owe those who grow our food, sew our clothes and produce our electronics? And what have we always owed one another, but forgotten, avoided, or simply disregarded? Looking back on nearly a century of colonial war and genocide, in 1990 the poet and philosopher Édouard Glissant appealed directly to his readers, calling them to re-orient their lives in service of the political struggles of their time: ‘You must choose your bearing.' Informed by the prayer camps at Standing Rock, and presenting Glissant alongside Stuart Hall, Emmanuel Levinas, Simone Weil, Enrique Dussel, Gloria Anzaldúa and W. E. B. Du Bois, this book offers an urgent ethics for the present – an ethics of risk, commitment and care that together form a new sense of decolonial responsibility. A sequel to the book, Another Humanity: Decolonial Ethics from Du Bois to Arendt, is forthcoming this year. Benjamin P. Davis is an Assistant Professor of Africana Studies and Hispanic Studies at Texas A&M University and a Fellow at the Center on Modernity in Transition. He is the author of Simone Weil's Political Philosophy: Field Notes from the Margins (Rowman & Littlefield 2023) as well as Choose Your Bearing: Édouard Glissant, Human Rights, and Decolonial Ethics (2023) and a sequel, Another Humanity: Decolonial Ethics from Du Bois to Arendt (2025), both published by Edinburgh University Press. Tim Wyman-McCarthy is a Lecturer in the discipline of Human Rights and Associate Director of Graduate Studies at the Institute for the Study of Human Rights and the Department of Sociology at Columbia University. He can be reached at tw2468@columbia.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

Benjamin P. Davis's Choose Your Bearing: Édouard Glissant, Human Rights and Decolonial Ethics (Edinburgh University Press 2025) provides one of the first readings, in English or French, of Édouard Glissant as an ethical theorist. What do we in the West owe those who grow our food, sew our clothes and produce our electronics? And what have we always owed one another, but forgotten, avoided, or simply disregarded? Looking back on nearly a century of colonial war and genocide, in 1990 the poet and philosopher Édouard Glissant appealed directly to his readers, calling them to re-orient their lives in service of the political struggles of their time: ‘You must choose your bearing.' Informed by the prayer camps at Standing Rock, and presenting Glissant alongside Stuart Hall, Emmanuel Levinas, Simone Weil, Enrique Dussel, Gloria Anzaldúa and W. E. B. Du Bois, this book offers an urgent ethics for the present – an ethics of risk, commitment and care that together form a new sense of decolonial responsibility. A sequel to the book, Another Humanity: Decolonial Ethics from Du Bois to Arendt, is forthcoming this year. Benjamin P. Davis is an Assistant Professor of Africana Studies and Hispanic Studies at Texas A&M University and a Fellow at the Center on Modernity in Transition. He is the author of Simone Weil's Political Philosophy: Field Notes from the Margins (Rowman & Littlefield 2023) as well as Choose Your Bearing: Édouard Glissant, Human Rights, and Decolonial Ethics (2023) and a sequel, Another Humanity: Decolonial Ethics from Du Bois to Arendt (2025), both published by Edinburgh University Press. Tim Wyman-McCarthy is a Lecturer in the discipline of Human Rights and Associate Director of Graduate Studies at the Institute for the Study of Human Rights and the Department of Sociology at Columbia University. He can be reached at tw2468@columbia.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Benjamin P. Davis's Choose Your Bearing: Édouard Glissant, Human Rights and Decolonial Ethics (Edinburgh University Press 2025) provides one of the first readings, in English or French, of Édouard Glissant as an ethical theorist. What do we in the West owe those who grow our food, sew our clothes and produce our electronics? And what have we always owed one another, but forgotten, avoided, or simply disregarded? Looking back on nearly a century of colonial war and genocide, in 1990 the poet and philosopher Édouard Glissant appealed directly to his readers, calling them to re-orient their lives in service of the political struggles of their time: ‘You must choose your bearing.' Informed by the prayer camps at Standing Rock, and presenting Glissant alongside Stuart Hall, Emmanuel Levinas, Simone Weil, Enrique Dussel, Gloria Anzaldúa and W. E. B. Du Bois, this book offers an urgent ethics for the present – an ethics of risk, commitment and care that together form a new sense of decolonial responsibility. A sequel to the book, Another Humanity: Decolonial Ethics from Du Bois to Arendt, is forthcoming this year. Benjamin P. Davis is an Assistant Professor of Africana Studies and Hispanic Studies at Texas A&M University and a Fellow at the Center on Modernity in Transition. He is the author of Simone Weil's Political Philosophy: Field Notes from the Margins (Rowman & Littlefield 2023) as well as Choose Your Bearing: Édouard Glissant, Human Rights, and Decolonial Ethics (2023) and a sequel, Another Humanity: Decolonial Ethics from Du Bois to Arendt (2025), both published by Edinburgh University Press. Tim Wyman-McCarthy is a Lecturer in the discipline of Human Rights and Associate Director of Graduate Studies at the Institute for the Study of Human Rights and the Department of Sociology at Columbia University. He can be reached at tw2468@columbia.edu. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's episode features a thought-provoking conversation with Dr. Charles Athanasopoulos, Assistant Professor of African American and African Studies & English at The Ohio State University, about his groundbreaking new book, Black Iconoclasm: Public Symbols, Racial Progress, and Post/Ferguson America. On the show, Alex and Calvin talk with Charles about the intricate relationship he charts between Black freedom struggles, the power of icons (and their destruction), and the complex liminalities of social change in contemporary America. We explore Charles's fresh analysis using his concept of "Black iconoclasm" as a guide - a process of Black radical discernment, which beckons us to constantly questioning established norms and the received wisdom of black liberation and social change more broadly.Our discussion touches upon the personal backdrop that informed Athanasopoulos's work, particularly his religious upbringing, the emergence and mainstreaming of the Black Lives Matter movement during his time as an undergraduate, and some of his observations of the 2020 BLM protests as a graduate student in Pittsburgh. We unpack key concepts from Black Iconoclasm, such as the "twilight of the icons," where the lines between image-making and image-breaking blur. We also explore his insightful application of the work of Frantz Fanon in communication studies, exploring the idea of "Fanonian slips" as accidental rhetorical slippages that reveal deeper investments in racial iconography, using examples like comments from political figures like Joe Biden and Hillary Clinton, as well as Charles's own experiences. We also examine the visual rhetoric of a BLM mural in Pittsburgh through the lens of Édouard Glissant's "poetics of visual relation," considering the transformations and defacements the mural underwent, and its broader symbolic underpinnings. We conclude by hearing the inspiration behind Charles's creative story of “Black Icarus” that interweaves his chapters, reflecting upon his choice to include an innovative mythopoetic narrative as part of his scholarly work.Charles Athanasopolous's Black Iconoclasm: Public Symbols, Racial Progress, and Post/Ferguson America is available now as a free E-Book from Palgrave Macmillan (via SpringerLink)Works and Concepts Cited in this EpisodeBurke, Kenneth. 1970. The rhetoric of religion. City: University of California Press.Fanon, Frantz. 2018. Alienation and freedom. Ed. Jean Khalfa and Robert J.C. Young. Trans. Steven Corcoran. London: Bloomsbury Academic.Fanon, Frantz. 2008. Black skin, white masks. Trans. Richard Philcox. New York: Grove Press.Fanon, Frantz. 1967. The wretched of the Earth. Trans. Constance Farrington. London and New York: Penguin Books.Glissant, Édouard. 1997. Poetics of relation. Lansing: Michigan State University Press.Hartman, S. V. (1997). Scenes of subjection : terror, slavery, and self-making in nineteenth-century America. Oxford University Press.Hartman, S. (2008). Venus in two acts. Small Axe: A Caribbean Journal of Criticism, 12(2), 1-14.Maraj, Louis M. 2020. Black or right: Anti/racist campus rhetorics. Logan: Utah State Press.Matheson, C. L. (2019). The instance of the letter in the unconscious, or reason since Freud. In Reading Lacan's Écrits: From ‘The Freudian Thing'to'Remarks on Daniel Lagache' (pp. 131-162). Routledge.Nietzsche, Friedrich. 1997. Twilight of the idols. Trans. Richard Polt. Indianapolis/Cambridge: Hackett Publishing Company, Inc.Spillers, H. J. (2003). Black, white, and in color: Essays on American literature and culture. University of Chicago Press..An accessible transcript of this episode can be found here (via Descript)

Craig's designs: https://www.etsy.com/shop/critdripThe Ordeal: https://splitinfinities.substack.com/p/crossing-the-line-the-repeater-booksPatreon: https://www.patreon.com/c/acidhorizonpodcastWe are joined by philosopher Nicolas de Warren to explore his concept of the anarchist imaginary, drawn from his essay "Anarchism, the Shock from Elsewhere: Glissant and Levinas". Together, we unpack how anarchism operates not merely as a political program, but as an ethical and temporal force—a heterotopia that resists monolingualism, sovereign authority, and the foreclosure of otherness. Nicholas discusses the right to opacity, indirect reciprocity, and an anarchist ethics of reading that dismantles institutional power while cultivating new forms of literacy and solidarity. Drawing on the work of Glissant, Levinas, Derrida, and others, this conversation maps a terrain where impossibility becomes the site of political and philosophical renewal. We also reflect on the prospects for anarchist institutions, public pedagogy, and the future of thought in an age of digital unthinking.Support the showSupport the podcast:https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcast Boycott Watkins Media: https://xenogothic.com/2025/03/17/boycott-watkins-statement/ Join The Schizoanalysis Project: https://discord.gg/4WtaXG3QxnSubscribe to us on your favorite podcast: https://pod.link/1512615438Merch: http://www.crit-drip.comSubscribe to us on your favorite podcast: https://pod.link/1512615438 LEPHT HAND: https://www.patreon.com/LEPHTHANDHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

Neste episódio do podcast Dito & Feito iremos escutar o escritor, crítico de arte, curador de arte e performance James Oscar e o artista multidisciplinar, produtor cultural, organizador comunitário e fundador do The Blacker The Berry Project Jesualdo Lopes numa conversa sobre presente e futuro com muito passado dentro. James e Jesualdo, a partir de algumas perguntas partilhadas pela programação de discurso e que integraram a Assembleia Imaginação Radical como Prática de Libertação, conversam sobre espaços, cidades, arquitetura, festas, conexões, mudanças, limites, negociações, curadoria e programação. Um encontro intergeracional e transatlântico com Lisboa como pano de fundo. JAMES OSCAR é escritor, crítico de arte, curador de arte e performance e foi investigador de pós-graduação em sociologia e antropologia da arte no Institut National de la Recherche Scientifique. Aperfeiçoou o seu ofício sob a tutela do poeta Édouard Glissant. Como curador, James é o fundador e curador principal do Musée des Arts Libres des Amériques et du Monde (MALAM) em Montréal. Os seus interesses atuais exploram a forma como as práticas artísticas podem contribuir para repensar formas de gestão ecológica e da terra. JESUALDO LOPES (ele/dele) de ascendência guineense, nascido e criado em Lisboa, é um artista multidisciplinar, produtor cultural e organizador comunitário, cujo trabalho se destaca na interseção entre arte, ativismo e representação negra LGBTQ+. Em 2021, fundou The Blacker The Berry Project e, atualmente integra a equipa do London LGBTQ+ Community Centre como Coordenador de Eventos e Comunicação. Com uma abordagem inovadora, tem vindo a redefinir os espaços culturais, promovendo narrativas que desafiam estruturas sistémicas e amplificam vozes marginalizadas. Ficha Artística Pós-produção Joana Linda Música original Dito e Feito Raw Forest

“Paris noir” Circulations artistiqueset luttes anticoloniales 1950 – 2000au Centre Pompidou, Parisdu 19 mars au 30 juin 2025Entretien avecAurélien Bernardet Marie Siguier, attaché.es de conservation, service de la création contemporaine et prospective, Musée national d'art moderne − Centre Pompidou, commissaires associé.es de l'exposition,par Anne-Frédérique Fer, à Paris, le 17 mars 2025, durée 32'19,© FranceFineArt.https://francefineart.com/2025/03/25/3603_paris-noir_centre-pompidou/Communiqué de presseCommissariat :Alicia Knock, conservatrice, cheffe du service de la création contemporaine et prospective, Musée national d'art moderne − Centre Pompidou.Commissaires associé.es : Éva Barois De Caevel, conservatrice, Aurélien Bernard, Laure Chauvelot, et Marie Siguier, attaché.es de conservation, service de la création contemporaine et prospective, Musée national d'art moderne − Centre Pompidou.De la création de la revue Présence africaine à celle de Revue noire, l'exposition « Paris noir » retrace la présence et l'influence des artistes noirs en France entre les années 1950 et 2000. Elle met en lumière 150 artistes afro-descendants, de l'Afrique aux Amériques, dont les œuvres n'ont souvent jamais été montrées en France.« Paris noir » est une plongée vibrante dans un Paris cosmopolite, lieu de résistance et de création, qui a donné naissance à une grande variété de pratiques, allant de la prise de conscience identitaire à la recherche de langages plastiques transculturels. Des abstractions internationales aux abstractions afro-atlantiques, en passant par le surréalisme et la figuration libre, cette traversée historique dévoile l'importance des artistes afro-descendants dans la redéfinition des modernismes et post-modernismes.Quatre installations produites spécifiquement pour « Paris noir » par Valérie John, Nathalie Leroy-Fiévée, Jay Ramier et Shuck One, rythment le parcours en portant des regards contemporains sur cette mémoire. Au centre de l'exposition, une matrice circulaire reprend le motif de l'Atlantique noir, océan devenu disque, métonymie de la Caraïbe et du « Tout-Monde », selon la formule du poète martiniquais, Édouard Glissant comme métaphore de l'espace parisien. Attentive aux circulations, aux réseaux comme aux liens d'amitié, l'exposition prend la forme d'une cartographie vivante et souvent inédite de Paris.Une cartographie artistique transnationaleDès les années 1950, des artistes afro-américains et caribéens explorent à Paris de nouvelles formes d'abstraction (Ed Clark, Beauford Delaney, Guido Llinás), tandis que des artistes du continent esquissent les premiers modernismes panafricains (Paul Ahyi, Skunder Boghossian, Christian Lattier, Demas Nwoko). De nouveaux mouvements artistiques infusent à Paris, tels que celui du groupe Fwomaje (Martinique) ou le Vohou-vohou (Côte d'Ivoire). L'exposition fait également place aux premières mouvances post-coloniales dans les années 1990, marquées par l'affirmation de la notion de métissage en France.Un hommage à la scène afro-descendante à ParisAprès la Seconde Guerre mondiale, Paris devient un centre intellectuel où convergent des figures comme James Baldwin, Suzanne et Aimé Césaire ou encore Léopold Sédar Senghor qui y posent les fondations d'un avenir post et décolonial. L'exposition capte l'effervescence culturelle et politique de cette période, au coeur des luttes pour l'indépendance et des droits civiques aux États-Unis, en offrant une plongée unique dans les expressions plastiques de la négritude, du panafricanisme et des mouvements transatlantiques.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

We meet poet, artist and filmmaker Julianknxx. We explore themes within his work of inheritance, loss and belonging as he crosses the boundaries between written word, music and visual art.Sierra Leonian artist Julianknxx uses his personal history as a prism to deconstruct dominant perspectives on African art, history, and culture. Rich with symbolism, his work conveys the Black experience of defining and redefining the self, rejecting labels to form new collective narratives.Offering song and music as forms of resistance, the exhibition invokes new understandings of what it means to be caught between, and to be of, multiple places. Choirs and musicians from cities across Europe give voice to a single refrain: ‘We are what's left of us', transforming the Curve into a collaborative space of communication. As the philosopher Édouard Glissant has written: ‘you can change with the Other while being yourself, you are not one, you are multiple, and you are yourself.'Julianknxx's work merges his poetic practice with films and performance; he engages in a form of existential inquiry that at once seeks to find ways of expressing the ineffable realities of human experiences while examining the structures through which we live. In casting his own practice as a ‘living archive' or an ‘history from below', Julianknxx draws on West African traditions of oral history to reframe how we construct both local and global perspectives. He does this through a body of work that challenges fixed ideas of identity and unravels linear Western historical and socio-political narratives, attempting to reconcile how it feels to exist primarily in liminal spaces.Follow @JulianKnxx Hosted on Acast. See acast.com/privacy for more information.

Paris noir (Black Paris). Artistic circulations and anti-colonial resistance, 1950-2000' traces the presence and influence of Black artists in France, from the creation of the journal Présence Africaine to the Revue noire. It highlights 150 artists of African descent, from Africa to the Americas. In this podcast, thirteen leading figures – artists, archivists, guides, art historians – speak up, along with Alicia Knock, curator of the exhibition. Credits Production: Clara Gouraud and Florence Sayag-MoratGuests: Alicia Knock, Kévi Donat, Sylvie Glissant, Franck Hermann Ekra, Eskil Lam, Jezabel Traube, Florence Alexis, Annouchka de Andrade, Kra N'Guessan, Frantz Absalon, Diagne Chanel, Elodie Barthélémy, Henry RoyArchives: Édouard Glissant, La créolisation du monde, Yves Billy et de Mathieu Glissant ; Ted Joans, Jazz is my religion, performance at the Centre Pompidou, 1980Voice over: Sonia Bonny, Walter Dickerson, Christine Hooper Recording and mix: Antoine Dahan Sound design: Sixième son Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ce podcast vous accompagne dans l'exposition « Paris noir. Circulations artistiques et luttes anticoloniales. 1950-2000 », qui retrace la présence et l'influence des artistes noirs en France, de la création de la revue Présence africaine à celle de Revue noire.Treize personnalités, artistes, archivistes, conférenciers, historiens et historiennes de l'art, prennent la parole pour mettre en lumière certaines œuvres, accompagnés d'Alicia Knock, commissaire de l'exposition. Crédits Réalisation : Clara Gouraud, Florence Sayag-MoratIntervenants : Kévi Donat, Sylvie Glissant, Franck Hermann Ekra, Eskil Lam, Jezabel Traube, Florence Alexis, Annouchka de Andrade, Kra N'Guessan, Frantz Absalon, Diagne Chanel, Elodie Barthélémy, Henry RoyArchives : Édouard Glissant, extrait de La créolisation du monde, film d'Yves Billy et de Mathieu Glissant ; Ted Joans, Jazz is my religion, performance au Centre Pompidou, 1980Mixage : Antoine Dahan Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

L'émission 28 minutes du 11/02/2025 L'écrivain Patrick Chamoiseau : pour la "créolisation" des hommes et des culturesDans son nouvel ouvrage “Que peut Littérature quand elle ne peut ?” paru aux éditions du Seuil, l'écrivain Patrick Chamoiseau questionne la capacité des œuvres littéraires à venir au secours des peuples opprimés. L'essayiste martiniquais reprend ici les concepts de “créolisation” et de “Relation”, mis au point par son maître à penser Édouard Glissant. Patrick Chamoiseau écrit : “le principe de la Relation suppose que ce n'est pas le “même”, que ce n'est pas la transparence d'un standard dominant, mais bien l'opaque générique de la “différence” qui est le mieux à même de nous nourrir”. Il combat l'idée d'un “Grand récit”, qui nous enferme dans une réalité unique et nous fait accepter “l'inacceptable”. Patrick Chamoiseau considère toutes ses œuvres littéraires dans un contexte (géo)politique : “Puisqu'il nous faut questionner les littératures dans leur rapport au monde, donc à chaque être vivant, il serait indécent de parler d'autre chose que de l'irruption de l'extrême droite au pays de Montaigne, ou du génocide à ciel ouvert perpétré à Gaza.”"Make Europe Great Again" : les populistes européens galvanisés par "la tornade Trump" ?Vendredi 7 février et samedi 8 février les principaux dirigeants d'extrême droite étaient réunis à Madrid pour le premier sommet des “Patriotes pour l'Europe”, un groupe créé au Parlement européen à l'été 2024. Galvanisés par la victoire de Donald Trump, Marine Le Pen, le hongrois Viktor Orbán, le Néerlandais Geert Wilders et leurs homologues se sont rassemblés derrière un nouveau slogan : “Make Europe Great Again”. Un slogan inspiré de “Make America Great Again”, alors que les partis d'extrême droite, déjà en place ou aux portes du pouvoir, ont le vent en poupe dans toute l'Europe. La présidente du Rassemblement national s'est réjouie d'un “basculement mondial”. Donald Trump défend de nombreux principes et valeurs en accord avec ceux défendus par ces partis : le rejet de l'immigration, du "wokisme", des politiques climatiques, la défense de la souveraineté nationale ou encore la remise en cause de la CPI. Enfin, Marjorie Adelson nous explique comment des scientifiques ont découvert que les chasseurs-cueilleurs paléolithiques étaient cannibales et Marie Bonnisseau revient sur la disparition des grands méchants dans les Disney. Oubliés Scar, Jafar ou Cruella d'Enfer, les antagonistes correspondent désormais à des thématiques, comme le changement climatique ou le divorce des parents.28 minutes est le magazine d'actualité d'ARTE, présenté par Élisabeth Quin du lundi au jeudi à 20h05. Renaud Dély est aux commandes de l'émission le vendredi et le samedi. Ce podcast est coproduit par KM et ARTE Radio. Enregistrement 11 février 2025 Présentation Élisabeth Quin Production KM, ARTE Radio

La 9è édition des Nuits de la lecture met cette année en lumière les patrimoines. Comment la lecture et les livres peuvent-elles aider à préserver le patrimoine ?   ►Julien Bucci, poète, art-thérapeute et créateur du serveur vocal poétique► Yasmina Ho-You-Fat, artiste originaire de Guyane. Sa compagnie Grand Balan va mettre à l'honneur les textes d'Édouard Glissant grâce au bèlè poétique, une pratique artistique née pendant la période de l'esclavage qui mélange chant et danse. Et le témoignage d'une des marraines de cette édition : Maylis de Kerangal par Lucie Bouteloup.Et la chronique Ailleurs nous emmène ce lundi au Liban et plus précisément au grand lycée franco-libanais de Beyrouth où Dima El Kurdy, documentaliste de la « marmothèque » nous présentent les activités des Nuits de la Lecture 2025 ! 

La 9è édition des Nuits de la lecture met cette année en lumière les patrimoines. Comment la lecture et les livres peuvent-elles aider à préserver le patrimoine ?   ►Julien Bucci, poète, art-thérapeute et créateur du serveur vocal poétique► Yasmina Ho-You-Fat, artiste originaire de Guyane. Sa compagnie Grand Balan va mettre à l'honneur les textes d'Édouard Glissant grâce au bèlè poétique, une pratique artistique née pendant la période de l'esclavage qui mélange chant et danse. Et le témoignage d'une des marraines de cette édition : Maylis de Kerangal par Lucie Bouteloup.Et la chronique Ailleurs nous emmène ce lundi au Liban et plus précisément au grand lycée franco-libanais de Beyrouth où Dima El Kurdy, documentaliste de la « marmothèque » nous présentent les activités des Nuits de la Lecture 2025 ! 

En août dernier, alors qu'elle fait ses courses dans une grande surface, Valérie glisse sur des spaghettis éparpillés au sol. Elle se brise l'humérus et est placée en arrêt-maladie. Problème, l'assurance de l'enseigne ne la dédommage pas. Elle est aujourd'hui dans une situation financière très compliquée, car elle ne peut plus travailler de nuit. Chaque mois, Valérie perd plusieurs milliers d'euros. Au micro de Chloé Lacrampe, un membre de l'équipe de "Ça peut vous arriver" revient sur les négociations difficiles et les moments off de ces 2h d'antenne !

Curator Jo-Lene Ong walks through historic marketplaces across Taiwan, Paris, Devon, London, and Manchester, exchanging island mentality for more archipelagic thinking, via Steph Huang's sculptural installation, I Am in a Pretty Pickle (2024). Through works combining sculpture, sound, and film, contemporary artist Steph Huang explores mass production, consumption, and waste. She often focusses on the transcultural and historical dimensions of food industries, and the implications of such markets on our natural environment. Roaming the street markets of cities in Taiwan, where she was born, and London, where she lives and works, she also draws from their vernacular architectures, and different local cultures. Steph's first exhibition at Tate Britain in London sits near the river Thames, a boat ride away from Billingsgate, the UK's largest inland fish market; and in Manchester, at its historic Market Buildings, once part of the Victorian Smithfield Fish Market. Curator Jo-Lene Ong connects sculptural works like I Am in a Pretty Pickle (2024), with the Situationist International's practice of the dérive, repurposing objects collected through exploration. We situate her interest in wonder and playful approach to media with the likes of Haegue Yang, currently on view at the Hayward Gallery in London, and Rasheed Araeen, entwining the roles of cook and artist. We look at the traces of maritime trades and food industries on our everyday lives, and our relationship with ocean ecosystems, highlighting the legacies of colonialism in contemporary capitalism and climate crises. From esea contemporary's previous exhibitions of artists like Jane Jin Kaisen, Jo-Lene moves towards her particular interest in transmission, and more ‘watery ways of being' beyond borders, referencing Astrida Neimanis' hydrofeminism (2017) and looking to Sharjah Biennale 16 in 2025. We discuss ‘island travel' and ‘archipelagic thinking' as central to Steph's artistic, and Jo-Lene's curatorial, practices. Jo-Lene shares how her relationship with identity has been shaped by working in different contexts, from Malaysia, to Amsterdam, and the UK. We discuss the relative in/visibility of East and Southeast Asian (ESEA) identities in these different places - histories of Indonesia and the Dutch East Indies, and Malaysia, a British colony between the 1820s and 1957 - as well as the overlaps between Hokkein and Taiwanese languages, as variants or dialects of Chinese. Steph Huang: There is nothing old under the sun runs at esea contemporary in Manchester until 8 December 2024. The exhibition is part of the Mark Tanner Sculpture Award (MTSA)'s National Touring Programme, first exhibited at Standpoint in London in 2024. The exhibition will tour to Cross Lane Projects in Kendal in March 2025. An exhibition book of the same number launches at esea contemporary on 30 November 2024. Art Now: Steph Huang: See, See, Sea runs at Tate Britain in London until 5 January 2025. For more about archipelagos and Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠ For more from esea contemporary, hear Musquiqui Chihying, a recent artist-in-residence, on Too Loud a Dust (2023) at Tabula Rasa Gallery during London Gallery Weekend in 2023: pod.link/1533637675/episode/29b9e85442a30e487d8a7905356541dd PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Contemporary artist Pamela Phatsimo Sunstrum, and curator Diego Chocano, slip between places and times, reconstructing the landscape of Botswana in the centre of the city of London, through their filmic installation, It Will End in Tears (2024). Pamela Phatsimo Sunstrum's practice spans landscapes and media, encompassing painting, installation, and animation. Their drawings take the form of narrative landscapes, that seem simultaneously futuristic and ancient, playing with conventions of linear time. Referencing Octavia Butler's Parable of the Sower, and Pan's Labyrinth, a film by Guillermo del Toro, they often draw from literature, theatre, and sci-fi films - particularly in their slippery representations of people and places. Born in Botswana, and having worked in the US, Canada, South Africa, and the Netherlands, Pamela describes how her work has been shaped by these different contexts. They detail their transformative residency with tutor Arturo Lindsay in the rainforest in Panama, a Central American and Caribbean country on the coast, and how this inspired their representations of volcanic, subterranean, and cosmological environments. Seeing the landscape as ‘another character' in their their works, Pamela challenges the binary of landscape and figurative painting, and Western/European art historical conventions. Though It Will End in Tears is Pamela's first major UK solo exhibition, it is not their first in the city of London; we discuss their relationship with spaces across the capital, and its colonial histories. Curator Diego Chocano highlights how Pamela has both challenged and embraced conventions of Western/European art history, in their artistic and educational practices. We discuss the artist's academic approach, and ‘research' approach to art, which has inspired interdisciplinary collaborations including in the field of science, with theoretical physicist Dr. James Sylvester Gates. He details the artist's interest in performance and artifice, drawing on film noir, wooden theatre sets, and the figure of the femme fatale for this body of work. We discuss how Pamela's self-constructed alter ego, Asme, enables the artist more freedom of creative expression, and the ability to resist categorisation by identity, biography, or subjectivity. ⁠Pamela Phatsimo Sunstrum: It Will End in Tears⁠ runs at the Barbican in London until 5 January 2025. Find out more about Leo Robinson, and Édouard Glissant's ideas of ‘trembling', at the London Mithraeum Bloomberg SPACE: instagram.com/p/DAtbDyUIHzl/?next=%2F&img_index=3 Hear Barbican curator Florence Ostende on Carrie Mae Weems' series, From Here I Saw What Happened and I Cried (1995–1996): pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da And curator Alice Wilke on Carrie Mae Weems' Africa Series (1993), at the Kunstmuseum Basel: pod.link/1533637675/episode/d63af25b239253878ec68180cd8e5880 For more from the Curve, hear Barbican curator Eleanor Nairne on Julianknxx's Chorus in Rememory of Flight (2023), on EMPIRE LINES: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 And find out more about ancient Adinkra symbology and geometric structures in the episode about El Anatsui's Scottish Mission Book Depot Keta (2024) at Talbot Rice Gallery in Edinburgh: pod.link/1533637675/episode/2e464e75c847d9d19cfa4dc46ea33338 PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Colloque autour du Sommet de la francophonieÀ l'occasion du Sommet international de la francophonie les 4 et 5 octobre 2024, la BnF met la littérature à l'honneur dans ce qu'elle a de plus engagé et de plus actuel. Comment romanciers, poètes, critiques s'attachent-ils à redéfinir notre rapport à la terre, en interrogeant la préservation du lien entre humains et non-humains et les conséquences du dérèglement climatique ?Une deuxième soirée invite universitaires et écrivains à explorer les résistances contemporaines aux hégémonies industrielles, culturelles, politiques, sociales. La table ronde, animée par Ingrid Merckx, rédactrice en chef de la revue L'École des Lettres, accueille aussi la comédienne Coraly Zahonero, qui lit une sélection de textes de Senghor et Glissant, conservés à la BnF.Avec Michael Roch, Aude Seigne, Clara Arnaud, Maya Cousineau MollenSéance enregistrée le 11 octobre 2024 à la BnF I François-Mitterrand. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Colloque autour du Sommet de la francophonieÀ l'occasion du Sommet international de la francophonie les 4 et 5 octobre 2024, la BnF met la littérature à l'honneur dans ce qu'elle a de plus engagé et de plus actuel : comment les auteurs et les autrices francophones s'impliquent-ils dans une pensée écologique à la hauteur des enjeux de notre temps ? Une première soirée invite universitaires et écrivains à explorer les origines d'une pensée écocritique dans la littérature francophone. La table ronde, animée par Yvan Amar, producteur à Radio France, accueille aussi la comédienne Pauline Jambet, qui lit une sélection de textes de Senghor et Glissant, conservés à la BnF.Avec Markus Arnold, Elara Bertho, Edoardo Cagnan, Alioune Diaw, Xavier Garnier, Wilfried N'sondéSéance enregistrée le 7 octobre 2024 à la BnF I François-Mitterrand. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

durée : 00:28:55 - Les Nuits de France Culture - par : Mathias Le Gargasson - René Maran, premier écrivain noir à recevoir le prix Goncourt en 1921, est un peu oublié de notre mémoire littéraire. Cette émission de 1960 lui rend un hommage appuyé et est l'occasion d'entrevoir ce qu'il a apporté à la culture noire et en quoi il a été un précurseur. - réalisation : Virginie Mourthé - invités : Aimé Césaire Écrivain; Édouard Glissant Écrivain, poète et philosophe

durée : 01:15:00 - Les Nuits de France Culture - par : Mathias Le Gargasson - "Négritude et Antillanité", tel est le sujet du débat entre l'Haïtien René Depestre et le Martiniquais Édouard Glissant en 1981 dans l'émission "Dialogues". Une discussion vive en découle autour des avancées et des dangers du concept de négritude. - réalisation : Virginie Mourthé - invités : Édouard Glissant Écrivain, poète et philosophe; René Depestre Poète et écrivain

In this special episode, artist Kedisha Coakley joins EMPIRE LINES live at the Hepworth Wakefield in West Yorkshire, connecting their work from Jamaican and Black diasporic communities across the UK, with their research into sculptor Ronald Moody, uncovering shared interests in Ancient Egypt, indigenous Caribbean cultures, and questions of restitution. Born in Brixton, and based in Sheffield, Kedisha Coakley's practice spans sculpture, glassmaking, and wallpaper printed with blocks of braided hair. Commissioned for an exhibition about Ronald Moody, one of the most significant artists working in 20th century Britain, their new installation is set between his large-scale figurative wood sculptures from the 1930s, and post-war experimentations with concrete and resin casting. From Kedisha's bronze afro-combs influenced by historic Taino cultures, we journey from objects held in the British Museum, to mahogany relief sculptures by major influences like Edna Manley. With audio transcripts, we discuss Moody's BBC radio broadcasts for Calling the West Indies produced by Una Marson, particularly ‘What is called Primitive Art?' (1949). Kedisha shares Moody's interest in primitivism, present in ancient Egyptian, Greek, Indian, and ‘oriental' Chinese cultural forms, as well as Gothic and Renaissance works from Western/Europe. We look at photographs from Kedisha's studio, exploring ‘African masks' in the work of European modernists like Man Ray and Pablo Picasso, and the often marginalised role of religion and spirituality in Black and diasporic art practices. Kedisha also details her wider practice in ‘Horticultural Appropriation', working with breadfruit, flowers, plants, and the natural environment, connecting with Moody's description of Jamaica's Blue Mountains and sea. We consider Moody's place in British art history, drawing from his contemporaries Barbara Hepworth, Henry Moore, Jacob Epstein, and Elizabeth Frink, as well as the group known as the Caribbean Artists Movement (CAM), of which Moody was a founding member.. As a self-described ‘mature student', we look at Kedisha's pursuit of independent, adult education, the role of market cultures and fashion, and the work of women taking care of history. This episode was recorded live at Ronald Moody: Sculpting Life, an exhibition at the Hepworth Wakefield in West Yorkshire, in October 2024. The exhibition runs until 3 November 2024: hepworthwakefield.org/whats-on/kedisha-coakley-and-empire-lines-live-podcast-recording/ Hear more about Kedisha's work around ‘Horticultural Appropriation' with Ashish Ghadiali, curator of Against Apartheid (2023) at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about the Caribbean Artists Movement (CAM), listen to curator Rose Sinclair in the episode on Althea McNish's Batchelor Girl's Room (1966/2022), recreated at the William Morris Gallery in London: pod.link/1533637675/episode/953b78149a969255d6106fb60c16982b On post-war ‘British' art and sculpture, read about Egon Altdorf: Reaching for the Light at the Henry Moore Institute in Leeds, in gowithYamo: gowithyamo.com/blog/postwar-modernism-egon-altdorf-at-the-henry-moore-institute Hear from artist Yinka Shonibare, in the episode on Decolonised Structures (Queen Victoria (2022-2023) at the Serpentine in London: pod.link/1533637675/episode/01fffb739a1bd9f84f930ce41ee31676 On the globalisation of ‘African' masks, listen to curator Osei Bonsu on Edson Chagas' photographic series, Tipo Passe (2014-2023), in the episode about Ndidi Dike's A History of A City in a Box (2019) at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 And for more about Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠

Malgré la victoire de la France face à Israël (4-1), nos journalistes Martin Mosnier et Julien Pereira font le point sur l'état des Bleus dans le premier sujet. Ils ne sont pas totalement convaincus de ce qu'ils ont vus de cette équipe de Didier Deschamps. (05:09)Dans le 2e sujet, il sera question de Kylian Mbappé. L'attaquant du Real Madrid a été aperçu dans les rues de Stockholm, jeudi soir, pendant que les Bleus jouaient un match de Ligue des Nations en Hongrie. Absent du groupe France, le capitaine de l'équipe de France doit profiter de cette période pour se reposer et retrouver l'intégralité de ces capacités physiques. Pour Martin Mosnier et Julien Pereira, cette séquence pose question. (13:11)Enfin, dans le 3e sujet, zoom sur le Paris FC. Avec le rachat à venir du club par la famille Arnault et Red Bull, que faut-il attendre des ambitions du club parisien ? Nos journalistes Martin Mosnier Julien Pereira font le point sur le futur du club qui pourrait rapidement afficher une grande ambition. (22:26)Bonne écoute. Présentation : Martin MOSNIER, Julien PEREIRAGraphisme : Quentin GUICHARD (extraits en vidéo)Réalisation : Hadrien HIAULT Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Contemporary and performance artist Paul Maheke moves between France, Congo, and Canada, exploring the ‘archive of their body' through drawing and dance, via Taboo Durag (2021). To Be Blindly Hopeful emerged from the very last sentence of a journal that Paul Maheke kept between August 2020 and June 2021, capturing the turbulence of the COVID pandemic. Central to Maheke's practice is a delicate dance between the individual and the collective, personal and broader sociopolitical contexts, echoing the sentiment expressed by bell hooks, who reminds us that ‘the space of our lack is also the space of possibility.' Currently based in France, Paul shares works 'staged' in previous exhibitions at South London Gallery, Chisenhale Gallery, and Tate Modern, highlighting how the ‘new' drawings, prints, book illustrations, and paintings on display here have long formed part of his practice. He explains how performance and dance can be both emancipatory and trapping, with respect to queerness, masculinity and gender, and the reality of being ‘brown body looked at my white audience' - drawing on his lifelong admiration for the French-born ice skater, Surya Bonaly. We discuss Paul's popular culture and academic Influences like Grace Jones and Félix González-Torres, Audre Lorde and Édouard Glissant, and Bruce Nauman to Paul B. Preciado - not as icons but real, complex people. Finally, Paul highlights how his work changes in its global travels, from the Baltic Triennale in Estonia, to Johanneburg, South Africa - and, drawing on collaborations with family members and fellow artist Melika Ngombe Kolongo (Nkisi) for the Congo Biennale in 2021, his personal relationship with arts institutions on the continent, as a diasporic artist. ⁠Paul Maheke: To Be Blindly Hopeful⁠ runs at MOSTYN, Wales until 29 June 2024. It includes Taboo Durag (2021), produced as a performance to camera for ⁠Glasgow International⁠ 2021. This episode marks this iteration of Scotland's biennale festival of contemporary art, which continues until 23 June 2024.** Paul has also shown work as part of the ⁠Diaspora Pavilion at the 58th Venice Biennale in 2019⁠, the first to feature an official performance programme co-produced with the Delfina Foundation, and has work in the ⁠Drawing Biennal 2024⁠, which runs at the Drawing Room in London until 3 July 2024. For another of Paul's collaborators, listen to Barby Asante's Declaration of Independence (2023), performed as part of Art on the Underground in London: pod.link/1533637675/episode/aa2803b68933ab974ca584cf6a18479c For another exhibition from MOSTYN, hear artist and curator Taloi Havini on Habitat (2017) and Artes Mundi 10: pod.link/1533637675/episode/e30bd079e3b389a1d7e68f5e2937a797 For more about bell hooks, listen to Professor Paul Gilroy, on The Black Atlantic (1993-Now): pod.link/1533637675/episode/90a9fc4efeef69e879b7b77e79659f3f And for more about Édouard Glissant, listen to Manthia Diawara, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019), part of PEACE FREQUENCIES 2023.: instagram.com/p/C0mAnSuodAZ/?img_index=1 PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

‘The result is that, at the present time, the world is at an impasse.' In 1956, Aimé Césaire pronounced the world to be at an impasse while renouncing his allegiance to the French Communist Party. In Jesse McCarthy's The Blue Period: Black Writing in the Early Cold War (U Chicago Press, 2024), this foreclosure of ideological avenues, this loss of belief in the prevailing modes of political praxis restricts and overdetermines the scope of writing and possibilities of culture during the Cold War. Although this story of Cold War disillusionment may sound familiar to readers of Mark Grief's The Age of the Crisis of Man (2015) and Amanda Anderson's Bleak Liberalism (2016), McCarthy argues that black writers such as Richard Wright, James Baldwin, Édouard Glissant, Paule Marshall, and Gwendolyn Brooks variously dissented from these delimitations in the name of alternate, unappeasable, quiet and disquieting bids for freedom. Across detailed chapters spanning from 1945 to 1965, the year in which Malcom X was assassinated and Amiri Baraka founded the Black Arts Repertory Theatre School by Amiri Baraka, McCarthy unfurls these writers' efforts to work through negative experiences—alienation, dehiscence, dissolution, disaffiliation, disidentification—in order to, in Baldwin's words, find ‘the power that will free us from ourselves.' Jesse McCarthy is an essayist, novelist, editor at Point Magazine, and an assistant professor in English and African-American Studies at Harvard University. Damian Maher is a fellow by examination at All Souls College, University of Oxford. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

In this episode of High Theory, Rasheed Tazudeen tells us about the inhuman. The inhuman offers a way of moving beyond the legacies of humanism and across categories and scales of being. Thinking with the inhuman world, from spools of thread to microplastics, helps us try and think otherwise about the complex assemblages that shape our lives. If you want to learn more, check out Rasheed's new book, Modernism's Inhuman Worlds (Cornell UP, 2024). The book explores the centrality of ecological precarity, species indeterminacy, planetary change, and the specter of extinction to modernist and contemporary metamodernist literatures. Modernist ecologies emerge in response to the enigma of how to imagine inhuman being—including soils, forests, oceans, and the earth itself—through languages and epistemologies that have only ever been humanist. Rasheed asks how (meta)modernist aesthetics might help us to imagine (with) inhuman worlds, including the worlds still to be made on the other side of mass extinction. Rasheed Tazudeen is a lecturer in English at Yale University. His work is focused broadly on the intersections between ecology, race, and sound in 19th- and 20th-century literature and music. He is currently at work on a second project tentatively titled The Musicked Earth: Towards a Decolonial Sound Ecology, focused on the resonances between Black/Afro-Caribbean and Indigenous theories of sound, music, festival, and ecology through the work of Sylvia Wynter, Édouard Glissant, Leanne Simpson, and Alice Coltrane. This week's image was made by Saronik Bosu in 2024. It represents a humanoid creature in fetal position, merging with the inhuman world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode of High Theory, Rasheed Tazudeen tells us about the inhuman. The inhuman offers a way of moving beyond the legacies of humanism and across categories and scales of being. Thinking with the inhuman world, from spools of thread to microplastics, helps us try and think otherwise about the complex assemblages that shape our lives. If you want to learn more, check out Rasheed's new book, Modernism's Inhuman Worlds (Cornell UP, 2024). The book explores the centrality of ecological precarity, species indeterminacy, planetary change, and the specter of extinction to modernist and contemporary metamodernist literatures. Modernist ecologies emerge in response to the enigma of how to imagine inhuman being—including soils, forests, oceans, and the earth itself—through languages and epistemologies that have only ever been humanist. Rasheed asks how (meta)modernist aesthetics might help us to imagine (with) inhuman worlds, including the worlds still to be made on the other side of mass extinction. Rasheed Tazudeen is a lecturer in English at Yale University. His work is focused broadly on the intersections between ecology, race, and sound in 19th- and 20th-century literature and music. He is currently at work on a second project tentatively titled The Musicked Earth: Towards a Decolonial Sound Ecology, focused on the resonances between Black/Afro-Caribbean and Indigenous theories of sound, music, festival, and ecology through the work of Sylvia Wynter, Édouard Glissant, Leanne Simpson, and Alice Coltrane. This week's image was made by Saronik Bosu in 2024. It represents a humanoid creature in fetal position, merging with the inhuman world. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of High Theory, Rasheed Tazudeen tells us about the inhuman. The inhuman offers a way of moving beyond the legacies of humanism and across categories and scales of being. Thinking with the inhuman world, from spools of thread to microplastics, helps us try and think otherwise about the complex assemblages that shape our lives. If you want to learn more, check out Rasheed's new book, Modernism's Inhuman Worlds (Cornell UP, 2024). The book explores the centrality of ecological precarity, species indeterminacy, planetary change, and the specter of extinction to modernist and contemporary metamodernist literatures. Modernist ecologies emerge in response to the enigma of how to imagine inhuman being—including soils, forests, oceans, and the earth itself—through languages and epistemologies that have only ever been humanist. Rasheed asks how (meta)modernist aesthetics might help us to imagine (with) inhuman worlds, including the worlds still to be made on the other side of mass extinction. Rasheed Tazudeen is a lecturer in English at Yale University. His work is focused broadly on the intersections between ecology, race, and sound in 19th- and 20th-century literature and music. He is currently at work on a second project tentatively titled The Musicked Earth: Towards a Decolonial Sound Ecology, focused on the resonances between Black/Afro-Caribbean and Indigenous theories of sound, music, festival, and ecology through the work of Sylvia Wynter, Édouard Glissant, Leanne Simpson, and Alice Coltrane. This week's image was made by Saronik Bosu in 2024. It represents a humanoid creature in fetal position, merging with the inhuman world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode of High Theory, Rasheed Tazudeen tells us about the inhuman. The inhuman offers a way of moving beyond the legacies of humanism and across categories and scales of being. Thinking with the inhuman world, from spools of thread to microplastics, helps us try and think otherwise about the complex assemblages that shape our lives. If you want to learn more, check out Rasheed's new book, Modernism's Inhuman Worlds (Cornell UP, 2024). The book explores the centrality of ecological precarity, species indeterminacy, planetary change, and the specter of extinction to modernist and contemporary metamodernist literatures. Modernist ecologies emerge in response to the enigma of how to imagine inhuman being—including soils, forests, oceans, and the earth itself—through languages and epistemologies that have only ever been humanist. Rasheed asks how (meta)modernist aesthetics might help us to imagine (with) inhuman worlds, including the worlds still to be made on the other side of mass extinction. Rasheed Tazudeen is a lecturer in English at Yale University. His work is focused broadly on the intersections between ecology, race, and sound in 19th- and 20th-century literature and music. He is currently at work on a second project tentatively titled The Musicked Earth: Towards a Decolonial Sound Ecology, focused on the resonances between Black/Afro-Caribbean and Indigenous theories of sound, music, festival, and ecology through the work of Sylvia Wynter, Édouard Glissant, Leanne Simpson, and Alice Coltrane. This week's image was made by Saronik Bosu in 2024. It represents a humanoid creature in fetal position, merging with the inhuman world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/environmental-studies

In this episode of High Theory, Rasheed Tazudeen tells us about the inhuman. The inhuman offers a way of moving beyond the legacies of humanism and across categories and scales of being. Thinking with the inhuman world, from spools of thread to microplastics, helps us try and think otherwise about the complex assemblages that shape our lives. If you want to learn more, check out Rasheed's new book, Modernism's Inhuman Worlds (Cornell UP, 2024). The book explores the centrality of ecological precarity, species indeterminacy, planetary change, and the specter of extinction to modernist and contemporary metamodernist literatures. Modernist ecologies emerge in response to the enigma of how to imagine inhuman being—including soils, forests, oceans, and the earth itself—through languages and epistemologies that have only ever been humanist. Rasheed asks how (meta)modernist aesthetics might help us to imagine (with) inhuman worlds, including the worlds still to be made on the other side of mass extinction. Rasheed Tazudeen is a lecturer in English at Yale University. His work is focused broadly on the intersections between ecology, race, and sound in 19th- and 20th-century literature and music. He is currently at work on a second project tentatively titled The Musicked Earth: Towards a Decolonial Sound Ecology, focused on the resonances between Black/Afro-Caribbean and Indigenous theories of sound, music, festival, and ecology through the work of Sylvia Wynter, Édouard Glissant, Leanne Simpson, and Alice Coltrane. This week's image was made by Saronik Bosu in 2024. It represents a humanoid creature in fetal position, merging with the inhuman world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Only YOU can create the offer calling on your spirit. Some creatives will say, “if you don't create your idea someone else will”. That's bullshit. There's only one YOU, with YOUR unique lived experience and YOUR journey of transformation. So, no. No one else can create the offer calling on your spirit. Join us this spring, take your offer from spirit to material and witness the magic that's been begging to be actualized all along. Resources: Enroll into the Seed A World Retreat by Monday, April 29th, 2024 here. Register for the last Worldbuilding Workshop of the season if you have any questions before enrolling! Download the ⁠Creative Offer Questionnaire to Oneself⁠ Subscribe to ⁠Seeda School Substack⁠ for weekly essay and podcast releases straight into your inbox Neta Bomani — Dark matter objects: Technologies of capture and things that can't be held Martine Syms — The Mundane Afrofuturist Manifesto Sonya Renee Taylor — Where Do I Want A Slave?: AI and the White Male Imagination Follow Ayana on Instagram: ⁠@ayzaco⁠ Follow Seeda School on Instagram: ⁠@seedaschool Cover Art: Jack Whitten, Atopolis: For Édouard Glissant (2014), Source: MoMA

Valentin Cebo alias Noddus me rejoint pour débriefer ma nouvelle obsession sérielle : Shōgun, dispo sur Disney+ ! On se penche sur l'épisode 7, ses trahisons, ses outfits, et ses dérapages.Suivez Mymy Haegel :Sur TwitchSur InstagramSur TwitterSur Patreon (pour les récaps rigolos !)Suivez Noddus :Sur Twitch Recevez mes podcasts en avant-première et sans pub sur Patreon ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

On this episode of Rehash, we're speaking with Irina Panovich (aka aiio) about non-linear models for cultural production, the importance of physicality and play when exploring emerging tech, and the importance of experimentation in crypto.For the last five years, aiio has been experimenting with an arts and tech collective in Copenhagen called 320 Colab, testing out various theses relating to funding for artists and creatives. This is her first time sharing publicly on a podcast about her experiences and learnings from that experiment.We talk a lot in this episode about experimenting in crypto, especially with community and culture, and aiio shares some key learnings and advice for building a community around foundational values and using human centered design.She also gives us a sneak peek into a new project she's working on right now that will be launching soon - a new podcast with UFO that she'll be using to experiment with new forms and models for podcasting. COLLECT THIS EPISODEhttps://www.rehashweb3.xyz/ FOLLOW USRehash: https://twitter.com/rehashweb3Diana: https://twitter.com/ddwchenaiio: https://twitter.com/cattfutur LINKSLiminal State: https://liminalstate.bandcamp.com/UFO Ep 47: https://ufo.mirror.xyz/Pifu_UYAW7nvMVkCmLY7y84rzF9er_cuqFaRzvf6DTIAdditional reading: Are We Human? Notes on an Archaeology of Design by Beatriz Colomina and Mark Wrigley Radical Friends: Decentralised Autonomous Organisations by Ruth Catlow and Penny Rafferty and Artists Re:Thinking the Blockchain by Ruth Catlow and friends The Archipelago Conversations by Édouard Glissant and Hans Ulrich Obrist After the Internet. Digital Networks between the Capital and the Common by Tiziana TerranovaThe Carrier Bag of Fiction by Ursula Le Guin The Dawn of Everything by David Græber Oneness v the 1% by Vandana Shiva The Creative Act: A Way of Being by Rick Rubin Science in Action by Bruno Latour Future Art Ecosystems 3: Art x Decentralised Tech by https://futureartecosystems.orgSocial Avalanche: Crowds, Cities and Financial Markets by Christian Borch The Order of Time by Carlo Rovelli The Doors of Perception by Aldous Huxley TIMESTAMPS0:00 Intro3:06 How aiio got involved with 320 Colab10:56 Non-linear frameworks for artists' monetization15:11 How aiio would run 320 Colab differently today19:14 How important are in person experiences?24:13 The importance of play in tech27:42 Resources for community builders30:14 How to build culture better40:42 aiio's new project44:27 Will ETH/BTC reach ATH in 2024?45:32 Follow aiio DISCLAIMER: The information in this video is the opinion of the speaker(s) only and is for informational purposes only. You should not construe it as investment advice, tax advice, or legal advice, and it does not represent any entity's opinion but those of the speaker(s). For investment or legal advice, please seek a duly licensed professional.

This is the first event is a six-part series that will take place live on Zoom and is free and open to the public. Environmental catastrophes can create a break in the experience of time, they can rupture the possibility of collective meaning. Yet, for communities shaped by colonialism and racism, this rupture can only be understood in relation to the past, as an event in the “unceremoniously archived procession of our catastrophes,” to use Édouard Glissant's words. Histories of colonial and racial devastation teach us that environmental futures are linked to our pasts. We may describe them as “ancestral catastrophes,” as Elizabeth Povinelly suggests. In this session, Mayra Rivera explores the question, “How may we engage those stories in ways that honor our pasts and open possibilities for different futures?” Speaker: Mayra Rivera, Andrew W. Mellon Professor of Religion and Latinx Studies Moderator: Diane L. Moore, Diane L. Moore, Associate Dean of Religion and Public Life Mayra Rivera works at the intersections between philosophy of religion, literature, and theories of coloniality, race and gender—with particular attention to Caribbean postcolonial thought. Her research explores the relationship between discursive and material dimensions of existence in shaping human embodiment and socio-material ecologies. She is the author of The Touch of Transcendence (2007) and Poetics of the Flesh (2015). Rivera is currently working on a project that explores the relationships between coloniality and ecological thought through Caribbean thought. This event took place on January 29, 2024. For more information: https://hds.harvard.edu/ A transcript is forthcoming.

Asad Raza (born in Buffalo, USA) creates dialogues and rejects disciplinary boundaries in his work, which conceives of art as a metabolic, active experience. Diversion, first shown at Kunsthalle Portikus in 2022, diverted a river through the gallery. Absorption, in which cultivators create artificial soil, was the 34th Kaldor Public Art Project in Sydney (2019), later shown at the Gropius Bau, Berlin (2020) and Ruhrtriennale (2021). In Untitled (plot for dialogue) (2017), visitors played tennis in a sixteenth-century church in Milan. Root sequence. Mother tongue, at the 2017 Whitney Biennial, combines twenty-six trees, caretakers and objects. Schema for a school was an experimental school at the 2015 Ljubljana Graphic Art Biennial. Raza premiered the feature Minor History at the International Film Festival Rotterdam (2019). Other projects take intimate settings: The Bedroom at the 2018 Lahore Biennale; Home Show (2015) at his apartment in New York, where Raza asked artists to intervene in his life; and Life to come (2019) at Metro Pictures, featuring participatory works and Shaker dance.  With Hans Ulrich Obrist, Raza curates exhibitions inspired by Édouard Glissant, including Mondialité (Villa Empain, Brussels), Trembling Thinking (Americas Society, New York), Where the Oceans Meet (MDC Museum of Art and Design, Miami), and This language which is every stone (IMA, Brisbane). Raza will serve as Artistic Director of the upcoming FRONT 2025: Cleveland Triennial of Contemporary Art. Of Pakistani background, Raza studied literature and filmmaking at Johns Hopkins and NYU. Still from Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Ge, Asad Raza, 2020. Commissioned for The Shape of a Circle in the Mind of a Fish: The Understory of the Understory, Serpentine Galleries. Asad Raza, Untitled (plot for dialogue), 2017, CONVERSO, Milan Photo Credit: Andrea Rossetti

Porch Swing Orchestra is an art project that pairs music recorded outside with images made on-site. Performed and recorded at home and away, solo and with others. Our orchestra is comprised of birds, guitars, artists, poets, and passing cars that spontaneously create ephemeral symphonic chance-inspired compositions. The original site and hub for all things PSO can be found at porchswingorchestra.orgThis episode is the first of a mini-series of pods highlighting artists who are presenting in VAST IS THE SEA, a series of live events exploring the interconnections between images and sound curated by PSO and hosted by Co-lab Projects in Austin Texas.The series will take place over 4 Saturdays and feature 2 presentations per evening on Jan 20, 27, and Feb 17 and 24. All presentations are maximally 45 minutes longThere will be a 15-20-minute intermission between presentationsEach presentation is ticketed separately except for the opening night which is one combined ticket. You can purchase tickets on a sliding scale starting at $5 at co-labprojects.org. This is a great way to support PSO.The opening event features San Antonio Artists, Anthony Francis and Xavier Gilmore beginning at 8 and that will followed by yours truly who will be joined by Paul Stautinger to reprise the suite of music we performed in the Turrell Sky space but accompanied by a new video.Co-lab is a legendary art space whose current configuration is a 40 x 10 x 10-foot concrete culvert sitting on an open plot of land just east of the city. The culvert will be awash in projections and stereo sounds on either end of the ceiling. The floor covered in a sea of moving blankets.Viewers/listeners are invited to lay next to the performers occupying the center to become a raft in an ocean of sounds gazing at a visionary sky.(video documentation of Gilmore's architectural sculpture, Between the Lines)In this pod, we will first hear my conversation with Anthony Francis where we cover everything from the poetry of Langston Hughes, Gwendolyn Brooks, Fred Moten, bell hooks, Frank Wilderson, family, community, stillness, and so much more. Our conversation will be followed by an excerpted audio from his piece, All Is which he will present on Saturday. Following that we hear a piece by Gilmore which was originally Shown as part of a sculpture show called Wild Ruins, Wild Orientations in a pop-up in Adkins, Texas. The Piece is a sound element that accompanies an architectural sculpture called Between the Lines which for Gilmore speaks to gathering, community, and privileged space. LINKS and REFERENCESPorch Swing Orchestrahttps://porchswingorchestra.org/Tickets to VAST IS THE SEAhttps://withfriends.co/event/17182339/vast_is_the_seaAnthony Francis:https://www.afrancisart.com/Xavier Gilmore:https://www.xaviergilmore.net/Langston Hughes, Gwendolyn Brooks, Fred Moten, Stefano Harney, bell hooks, Frank Wilderson, Édouard Glissant, Roland Barthes, Walter Benjamin, Get full access to Porch Swing Orchestra at porchswingorchestra.substack.com/subscribe

Are you peeing a  little when you sneeze or laugh?  Want to know how fillers, botox, red light therapy and radiofrequency are options "down there"?Then this episode is for you!This week on the Align & Hustle podcast we talk all about what happens to our intimate parts as we age...and what to do about it!I'm so excited to share my conversation with the famous, "Down There Doctor" Karyn Eilber. Dr Karyn Eilber is one of the few board certified female urologists in the Los Angeles area who is fellowship trained in female pelvic medicine and reconstructive surgery, also known as Urogynecology.  She's a mom of three, co-founder of the clean, luxury intimacy company Glissant, and co-author on the awesomely titled book,  "A Woman's Guide to Her Pelvic Floor: What the F#*@ is Going On Down There?" This episode could be called Pelvic Floor 101, but we also discuss: •the vaginal microbiome, did you know there was such a thing? •is your lube actually irritating you down there? •the truth about UTI's and antibiotics •vibrators for peri-menopause symptoms and pelvic health •vaginal tightening & reconstruction And so much more!If you love this episode, be sure to share with the midlife women you know!Stay connected & inspired!  Join the community HEREFor more tips on navigating midlife follow me @kathyspencehealthThanks, for being here!xo, kIf you found this episode valuable, please rate, review, & follow on Apple Podcasts This helps me support more people -- just like you -- move toward living their best midlife!Click here, tap on "Listen on Apple Podcasts", scroll to the bottom, tap to rate with five stars, and select “Write a Review.” Then be sure to let me know what you loved most about the episode!Also, if you haven't done so already, follow the podcast. I'm adding a bunch of bonus episodes soon, and if you're not following, there's a good chance you'll miss out. CLICK HERE for all the RESOURCES mentioned in the show

Curator and filmmaker Ashish Ghadiali connects climate science, contemporary art, and activism, cultivating a radical, cultural ecology in the countryside of south-west England, in their multidisciplinary exhibition, Against Apartheid. As environmental crises disproportionately affect Black and brown communities, and the resulting displacement often racialised, should we consider these states of ‘climate apartheid'? And could contemporary art help to bridge the gap between science and academics, and everyday action guidance? Against Apartheid, a multidisciplinary exhibition in Plymouth, puts these practices, histories, and geographies in conversation, from vast wallpapers charting global warming, to an intimate portrait of Ella Kissi-Debrah, and plantation paylists collected by the Barbadian artist Annalee Davis, linking land ownership in Scotland and the Caribbean from the 19th century Abolition Acts. Other works affirm how historic ecologies of empire – African enslavement, the middle passage, and the genocide of Indigenous peoples - continue to shape our present and future, in the geopolitics of international borders, migration, and travel. Activist and filmmaker Ashish Ghadiali talks about his work as ‘organisation', not curation, and how we can resist the individualisation that prevents effective collective political action. From his background in film, he suggests why museums and exhibitions might be better places for screenings than cinemas, outside of the market. We discuss why both rural countryside and urban city landscapes should be considered through the lens of empire, drawing on ‘post-plantation' and anti-colonial thinkers like Paul Gilroy, Françoise Vergès, Sylvie Séma Glissant, and Grada Kilomba. We relocate Plymouth's global history, a focus since #BLM, reversing the notion of the particular and ‘regional' as peripheral to the capital. We explore the wider arts ecology in south-west England, and how local connections with artists like Kedisha Coakley at The Box, and Iman Datoo at the University of Exeter and the Eden Project in Cornwall, also inform his work with global political institutions like the UN. Against Apartheid runs at KARST in Plymouth until 2 December 2023, part of Open City, a season of decolonial art and public events presented by Radical Ecology and partners across south-west England. For more, join EMPIRE LINES at the Black Atlantic Symposium - a free series of talks and live performances, celebrating the 30th anniversary of Paul Gilroy's formative text - which takes place from 24-26 November 2023: eventbrite.co.uk/e/black-atlantic-tickets-750903260867?aff=oddtdtcreator Part of JOURNEYS, a series of episodes leading to EMPIRE LINES 100. For more on Ingrid Pollard, hear the artist on Carbon Slowly Turning (2022) at the Turner Contemporary on EMPIRE LINES: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 For more about climate justice, listen to artist Imani Jacqueline Brown on What Remains at the End of the Earth? (2022) at the Hayward Gallery on EMPIRE LINES: pod.link/1533637675/episode/639b20f89d8782b52d6350513325a073 WITH: Ashish Ghadiali, Founding Director of Radical Ecology and Co-Chair of the Black Atlantic Innovation Network (BAIN) at University College London (UCL). He is the Co-Chair and Co-Principal Investigator of Addressing the New Denialism, lead author on a publication on climate finance for COP28, and a practicing filmmaker with recent credits including Planetary Imagination (2023) a 5-screen film installation, for The Box, Plymouth, and the feature documentary, The Confession (2016) for BFI and BBC Storyville. Ashish is the curator of Against Apartheid. ART: ‘Radical Ecology, Ashish Ghadiali (2023)'. PRODUCER: Jelena Sofronijevic. EDITOR: Nada Smiljanic.

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Recall This Book listeners already know the inimitable Martin Puchner (Professor of English and Theater at Harvard, editor of more than one Norton Anthology, and author of many prizewinning books) from that fabulous RTB episode about his “deep history” of literature and literacy, The Written World. And you know his feelings about Wodehouse from his Books in Dark Times confessions. Today you get to hear his views on culture as mediation and translation, all the way down. His utterly fascinating new book, Culture: The Story of Us from Cave Art to K Pop (Norton, 2023) argues that mediators, translators and transmitters are not just essential supplements, they are the whole kit and kaboodle—it is borrowing and appropriation all the way down. Mentioned in the episode: Cave art: Chauvet cave "Meaning rather than utility" (cf Werner Herzog's Cave of Forgotten Dreams) Recovery of Gilgamesh retold in David Damrosch's The Buried Book) David Ferry translation of Gilgamesh John Guillory's version of multiple forms of cultural transmission: "Monuments and Documents" William Blake, "Drive your cart and plough over the bones of the dead" Alex Ross writes eloquently in his book The Rest Is Noise about music's "pulverized modernity"; the revival of ancient culture in a reformulated, fragmented and reassembled from. Creolization as distinctively Caribbean (cf Glissant's notion of creolite ) Orlando Paterson, Slavery and Social Death (cf also Vincent Brown on the syncretism and continuity in Carribean deathways, Reaper's Garden) "Revenants of the past" as a way of understanding what scholars do: a phrase from Lorraine Daston's Rules--and was extensively discussed in the RTB conversation with Daston. Peter Brown Through the Eye of the Needle on monastic wealth and the rise of "mangerial bishops"--a topic that came up in his conversation with RTB. John presses the non-cenobitic tradition of the hermit monk, but Martin insists that most Church tradition shares his preference for the cenobitic or communal monastic tradition --even on Mt Athos. Recallable Books:  Sidney Mintz and Richard Price, The Birth of African-American Culture Richard Price, First Time (the dad of Leah Price?) Aphra Behn Oroonoko: or, The Royal Slave (1688) Roberto Calasso (an Umberto Eco sidekick?) The Marriage of Cadmus and Harmony  Read the episode here. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

The author of an important book on Glissant joins us to talk about his approach to this major Caribbean thinker.