German author, poet and one of the leading Dada artists
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2 episodes with Hugo Ball
2 episodes with Hugo Ball
2 episodes with Hugo Ball
5 episodes with Hugo Ball
2 episodes with Hugo Ball
2 episodes with Hugo Ball
2 episodes with Hugo Ball
2 episodes with Hugo Ball
2 episodes with Hugo Ball
Wenn die Nacht noch Schatten wirft, ist es stockfinster. Dort ist der Ausgangspunkt der aktuellen Folge des Lyrik-Podcast Seelenfutter. Von dort führen Entwicklungen zum Mond, der Finsternis vertreibt und ganz nah kommt, wie es Janna Horstmann in ihrer lyrischen Miniatur skizziert, und zur schönen Mondfrau, von der Hugo Ball singt. Dazu lassen Susanne Garsoffky und Friedemann Magaard Bibelworte aus Jesus Sirach und vom Propheten Jesaja klingen. Seelenkost für dunkle und hellere Stunden.
La semana pasada tuvimos el placer de contar con Irene Sorozábal y Adrián Moncada, que compartieron con nosotros sus trabajos de experimentación sonora a partir del folklore, con la voz como protagonista. Hoy seguimos dando protagonismo a la voz, como canal de comunicación entre lo íntimo de nuestro cuerpo y el mundo que nos rodea, y como instrumento de experimentación musical, de sociabilidad, de expresión de sentimientos y emociones.Presentamos ejemplos de exploración de la voz que van allá que las palabras que articula. Escuchamos creaciones de Fátima Miranda, Arnold Schoenberg, Hugo Ball, Bartolomé Ferrando junto con fragmentos del Archivo de la Palabra (edición de la Residencia de Estudiantes) y músicas tradicionales de Centro AfricaEscuchar audio
Düster und bedrohlich geht es zu im aktuellen Lyrikpodcast Seelenfutter, und zugleich schelmisch und augenzwinkernd. Heinrich Deterings „in den Domänen der Dämonen“ zaubert eine finster-kalte Atmosphäre, in der das Unwesen zeitloser Finster-Kräfte in sprachlicher Eleganz und Wortwitz entkleidet wird. Nicht ganz, aber erträglich bleibt es immer. Dazu stellen Seelenfutter-Gastgeber Susanne Garsoffky und Friedemann Magaard „Mein Dämon“ von Hugo Ball, eine Burleske, in der das ganz große Schöpfungswerk neben einem eingeschnitten Fußzehennagel steht – hinreißend. Dazu gibt es Bibelworte aus den Psalmen und nach Matthäus.
Anfang 2023 lehnte die Künstlerin Hito Steyerl den Hugo-Ball-Preis der Stadt Pirmasens ab, da in einigen Schriften Hugo Balls antisemitische Inhalte zu erkennen seien. Die Stadt und das Cabaret Voltaire in Zürich, wo Hugo Ball 1916 den Grundstein für den Dadaismus legte, veranstalteten daraufhin zahlreiche Vorträge und Workshops. Jetzt ging der Prozess mit einer abschließenden Podiumsdiskussion zu Ende.
Most widely recognized for his paintings that rigorously combine spray paint, stenciled geometric forms, and brushstrokes, the Brooklyn-based artist Adam Pendleton is also known for his “Black Dada” framework, an ever-evolving philosophy that investigates various relationships between Blackness, abstraction, and the avant-garde. Many will recognize Pendleton's work from “Who Is Queen?,” his 2021 solo exhibition at New York's Museum of Modern Art, which he has said was his way of “trying to overwhelm the museum.” This is a natural position for him: His works in and of themselves are often overwhelming. At once political and spiritual, they provoke deep introspection and consideration, practically demanding viewers to look, and then look again.On this episode, he discusses the elusive, multifarious nature of “Black Dada”; “An Abstraction,” his upcoming exhibition at Pace Gallery in New York (on view from May 3–August 16); painting as a kind of technology; and why, for him, jazz is indefinable.Special thanks to our Season 9 presenting sponsor, L'École, School of Jewelry Arts.Show notes:Adam Pendleton[05:00] Joan Retallack[05:00] Pasts, Futures, and Aftermaths[05:22] “Becoming Imperceptible”[07:41] Ishmael Houston-Jones[07:41] Joan Jonas[07:41] Lorraine O'Grady[07:41] Yvonne Rainer[07:41] Jack Halberstam[14:26] Fred Moten[05:22] “Who Is Queen?”[23:50] Hugo Ball's Dada Manifesto[23:50] Amiri Baraka's “Black Dada Nihilismus”[31:14] Isabella Stewart Gardner Museum[31:14] “System of Display”[31:14] “Reading Dante”[34:40] “Adam Pendleton” at Pace Gallery[34:40] “An Abstraction” at Pace Gallery[34:40] Arlene Shechet[34:40] “Adam Pendleton x Arlene Shechet”[40:30] “Blackness, White, and Light” at MUMOK[45:07] “Twenty-One Love Poems” by Audrienne Rich[50:40] “Occupy Time” by Jason Adams[56:04] “What It Is I Think I'm Doing Anyhow” by Toni Cade Bambara[57:13] “Some Thoughts on a Constellation of Things Seen and Felt” by Adrienne Edwards
https://www.rpmchallenge.com/“We work not only to produce but to give value to time.” (Delacroix)Ten years ago I participated in the RPM Song Challenge: 10 songs in 30 days. I chose the theme of “Time” - (a fertile and elastic subject), for my inventions. Included here are 4 songs from that creative surge.It is said that time moves more quickly the older one gets. My brain can't compute that it's been ten years since these songs popped into being; It seemed like a speck.I hadn't heard these recordings since that time - they had been committed to little mini cards, and salted away in an obscure container. I've since moved, and I thought the files had been lost to the sands of…… well, you know.But, Eureka! I remembered that I had logged entries into my diary, notating the precise location of each tune: (which card, the sequence of titles, and timings for each). And, they appeared! Talk about foresight, and good time-management… temporarily.So, in praise of our brief, yet glorious existence on this globe, allow me to share:Time Bends - An instrumental trinket, with one simple lyric stanza. It was created on a Mountain Dulcimer that had been gifted to me, and I recall becoming awestruck by its warm tone and craftsmanship. I felt that I needed to establish a relationship with it, and It didn't disappoint - lovingly responding to my explorations with this haunting melody. 50 Years Ago Today - As the challenge was taking place, there was a lot of press coverage on the approaching 50th anniversary of The Beatles appearance at Shea Stadium, which immediately reconnected me with my 12 year old self, and we pondered how the relentless bulldozer of time had flattened us. Our Bodies Are One - Though originally written in 2014 in response to another news story about a devoted husband and wife's long separation during his incarceration, and eventual death. As I listen to it anew, each line resonates with the tragic events that have transpired recently in a Siberian prison. I dedicate this song to Alexei and Yulia Navalny.Dada Dancehall - The music critic and historian, Greil Marcus a wrote a fascinating book connecting the dots between the Punk movement of the 1970s with the Dadaists of the World War I era. In this song, Johnny Rotten of the Sex Pistols time travels to the Cabaret Voltaire of 1916, to sing a duet with Hugo Ball, the creator of the Dada Manifesto.
Les baisers les plus mémorables du cinéma, la naissance du mouvement Dada, Ellen McArthur battant le record du tour du monde à la voile, la mort de Mary Wilson, célèbre membre des Supremes ou encore celle de la comtesse de Ségur, voilà le programme de cette nouvelle folle semaine avec Lucile Poulain pour ce mardi" Sujets traités : Ingrid Bergman , Humphrey Bogart Clark Gable, Vivien Leigh, Dada, Hugo Ball,Ellen MacArthur ,Mary Wilson ,Diana Ross, comtesse de Ségur Illustration: Affiche Dada/T. van Doesburg (Wikipedia commons) Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 15h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Alles Dada, oder was? Wenn jemand sich über den Dadaismus ein wenig lustig machen darf, dann ist es der Dichter Hugo Ball: Er hat dieses Genre im Grenzbereich zu Absurdistan geprägt und gefördert wie kaum an anderer. Und dann Abstand geschaffen. Sein "Dorfdadaist" erzählt von dem inneren Weg auf der speziellen "Lyrik-Szene" hinaus. Friedrich Hölderlin, in seiner Zeit einen enormen Dada-Spiegel aufwies, schreibt "An die jungen Dichter" und eben diesem Nachwuchs mit reichlich Imperativ ins Stammbuch, was Lyrik ausmachen sollte: "Liebt die Götter und denkt freundlich der Sterblichen!" Starke Texte, starke Gedanken. Dazu gibt es Bibelworte aus Samuel und von Paulus.
A wild and wacky podcast as Max and Colborn attempt to breakdown a wacky and wild document: Hugo Ball's 1918 "Dada Manifesto," which may or may not have elevated modernism to new heights in Europe. This is a text about nonsense, the absurd quite literally, giving things names and taking them away, the invention of an entirely new language. As crypto art everyday fights further to solidify its own existence, the "Dada Manifesto" feels more important than ever to analyze, dissect, and understand. Why don't we do so together?
In Episode 4: Great Jones Street, DDSWTNP listen in on a rock icon in retreat on the Lower East Side, Bucky Wunderlick, who leaves his fame and music career behind as other characters descend into terrorism and fascism in pursuit of a drug said to wipe out language itself. Will Bucky “return with a new language,” fall prey to a violent hippie commune that seems to evoke the Weather Underground, or engage some other “terminal fantasy”? Subjects include the aesthetics of poetry, silence, and guttural sounds; the contradictory American quest for “revolutionary solitude”; and what a “counter-archeology” of 1970s New York has to offer. #dogboys #preemptingthemarket #beastislooseleastisbest #diamondstylus #pulseredactor #yapplesyapplesyapples #doubledfeat Texts referred to in this episode: Definition of “nonce” words: https://en.wikipedia.org/wiki/Nonce_word One rendering of Hugo Ball's Dadaist poem “Gadji Beri Bimba”: https://www.youtube.com/watch?v=aiKHSeDlU1U John Cage on visiting an anechoic chamber in “Indeterminacy”: https://www.lcdf.org/indeterminacy/s/6 DeLillo reads from a CIA memo on torture (“here several lines are redacted”) at the 2009 PEN event “Reckoning With Torture”: https://www.youtube.com/watch?v=4ZFf6NYTkrM&t=26s DeLillo and Greil Marcus discuss Bob Dylan and Great Jones Street at the 2005 Telluride Film Festival: https://greilmarcus.net/2014/10/17/greil-marcus-and-don-delillo-discuss-bob-dylan-and-bucky-wunderlick-2005/ Rainer Maria Rilke, “Ninth Duino Elegy”: https://web.ics.purdue.edu/~felluga/eng241/rilke.html William Butler Yeats, “The Second Coming”: https://www.poetryfoundation.org/poems/43290/the-second-coming
Hugo Ball was a German sound poet, theatrical performer and mystic. He and his partner Emmy Hennings were the original catalysts of the infamous Dadaist art movement which they started in Zurich, Switzerland around 1916. What may be surprising to learn is that Hugo Ball was a Catholic and his bizarre forms of art were deeply informed by his theology. Joining me for this episode is visual artist, writer and art critic Jonathan Anderson. Jonathan writes about Hugo in his book, Modern Art & the Life of A Culture. Join the Makers & Mystics Creative Collective
Kein Widerspruch, Hugo Ball's "Frühling" im Sommer zu lesen. Die feine Wortkunst, die den Winter der eigenen Gedanken überwinden sieht in der Lebenskraft eines "Du", ist zeitlos und wunderschön. Rose Ausländers "Wenn du willst" benennt auch die Kraft zu überwinden, den Schatten der Vergangenheit zu begegnen und neue Wege zu gehen. Susanne Garsoffky und Friedemann Magaard stellen in der aktuellen Folge des Lyrik-Podcast Seelenfutter zwei zart-starke Gedichte vor. Dazu Bibelworte, assoziativ.
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Tristan Tzara, one of the most important figures in the twentieth century's most famous avant-garde movements, was born Samuel Rosenstock (or Samueli Rosenștok) in a provincial Romanian town, on April 16 (or 17, or 14, or 28) in 1896. Tzara became Tzara twenty years later at the Cabaret Voltaire in Zurich, when he and others (including Marcel Janco, Hugo Ball, Richard Huelsenbeck, and Hans Arp) invented Dada with a series of chaotic performances including multilingual (and nonlingual) shouting, music, drumming, and calisthenics. Within a few years, Dada (largely driven by Tzara) became an international artistic movement, a rallying point for young artists in Paris, New York, Barcelona, Berlin, and Buenos Aires. With TaTa Dada, Marius Hentea offers the first English-language biography of this influential artist. As the leader of Dada, Tzara created "the moment art changed forever." But, Hentea shows, Tzara and Dada were not coterminous. Tzara went on to publish more than fifty books; he wrote one of the great poems of surrealism; he became a recognized expert on primitive art; he was an active antifascist, a communist, and (after the Soviet repression of the Hungarian Revolution) a former communist. Hentea offers a detailed exploration of Tzara's early life in Romania, neglected by other scholars; a scrupulous assessment of the Dada years; and an original examination of Tzara's life and works after Dada. The one thing that remained constant through all of Tzara's artistic and political metamorphoses, Hentea tells us, was a desire to unlock the secrets and mysteries of language. Marius Hentea, a Romanian-born literary scholar, teaches in the Department of Literary Studies at Ghent University. He is the author of Henry Green at the Limits of Modernism. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Un día como hoy, 22 de febrero. Nace: 1788: Arthur Schopenhauer, filósofo alemán (f. 1860). 1886: Hugo Ball, escritor y poeta dadaísta alemán (f. 1927). 1900: Luis Buñuel, cineasta español (f. 1983). 1972: Rolando Villazón, cantante mexicano. Fallece: 1903: Hugo Wolf, compositor austriaco (n. 1860). 1942: Stefan Zweig, escritor austriaco (n. 1881). 1980: Oskar Kokoschka, artista austríaco (n. 1886). 1987: Andy Warhol, artista estadounidense de pop-art (n. 1928). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023
Nicoletta Mongini, Chiara Gatta, Sergio Risaliti"Monte Verità Back to Nature"Edizioni Lindauhttps://lindaut.itUn viaggio alla ricerca della libertà, in un luogo dove respirare l'utopia e sognare un mondo diverso. All'alba del '900, la colonia di Monte Verità, stanziata fra i boschi rigogliosi e le dolci colline affacciate sul Lago Maggiore, ha anticipato in modo profetico temi oggi vitali, fra ecologia dell'abitare ed ecologia dell'anima. I suoi fondatori sono stati pionieri assoluti del vivere bio e dell'eco-friendly, della cultura vegetariana e della cura del corpo in senso naturale.Monte Verità. Back to Nature nasce dalla mostra che il Museo Novecento di Firenze e la Fondazione Monte Verità di Ascona hanno dedicato a questa affascinante avventura, ai suoi ideali e ai tanti illustri personaggi che vi furono in diversa misura coinvolti. Dall'anarchico Kropotkin al coreografo Rudolf von Laban, dal dadaista Hugo Ball all'architetto del Bauhaus Walter Gropius, da artisti come Jean Arp e Paul Klee allo scrittore Hermann Hesse, dalla danzatrice Mary Wigman allo psicanalista Carl Gustav Jung, molti intellettuali videro infatti in questo luogo un buen retiro sospeso nel tempo e lontano dal dramma delle guerre e dallo scontro ideologico fra capitalismo e comunismo che stava scuotendo l'Europa. Culla di un'esistenza impostata su ritmi primigeni, Monte Verità divenne così il laboratorio di una contro-cultura alternativa al conformismo borghese e al pensiero dominante.Questo libro raccoglie testi di approfondimento su temi centrali come la pratica vegetariana e i bagni di sole della Lebensreform, la nascita della teosofia e le espressioni libere del genio umano attraverso i linguaggi della danza, della pittura, della poesia, fino allo studio dell'architettura in rapporto con la natura del Monte, dal primo insediamento selvatico alle geometrie rigorose negli anni del Bauhaus.A cavallo fra Otto e Novecento, il Ticino diventò meta di visionari e sognatori che trovarono nella regione terreno fertile per piantare i semi di un'utopia, lontani dal mondo industrializzato, in cerca di un santuario per lo spirito. I fondatori della colonia giunsero dal Nord Europa nel 1900. Uniti da un ideale comune, si insediarono sul Monte Monescia, ribattezzato simbolicamente Monte Verità. Vestiti con gli indumenti «della riforma», lavorarono campi, costruirono capanne, rilassandosi con l'euritmia e i bagni di sole. Adoravano la natura, predicandone la purezza e interpretandola come un'opera d'arte ultima. Nel tempo, il Monte fu frequentato da teosofi, anarchici, psicoanalisti, scrittori e artisti. Acquistato nel 1926 dal banchiere Eduard von der Heydt, il Monte visse una seconda straordinaria stagione culturale, legata anche all'approdo dei maestri del Bauhaus. Oggi è proprietà del Cantone Ticino, gestito dall'omonima fondazione ed è un albergo, un centro culturale e congressuale. Il complesso museale include le capanne aria-luce Casa Selma e Casa dei Russi, Casa Anatta, sede della storica esposizione di Harald Szeemann Monte Verità. Le mammelle della verità, oltre al Padiglione Elisarion con il dipinto panoramico Il Chiaro Mondo dei Beati di Elisàr von Kupffer.IL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement
Drees, Janwww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei
Fischer, Karinwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei
“El cuerpo es una función del alma” es la cita de Hugo Ball con la que se abre “Desnuda”, el poemario de Sofia Villa que esta noche traemos a La torre de Babel. Ejeana, graduada en Periodismo por la Universidad de Zaragoza, ganadora de concursos literarios, su vida profesional corre en paralelo a su mundo poético y esta relación la concreta en una frase «Periodismo para contar lo de ahí fuera; Literatura para contar lo de aquí dentro”.El poemario del que hoy hablamos, “Desnuda” es una reflexión sobre el cuerpo femenino estructurado en cinco emociones, cuatro de ellas, negativas, vergüenza, culpa, asco, dolor y la última, (re)conocimiento.Complejos, inseguridades, traumas personales son a la vez universales porque pocas mujeres hay que en algún momento de su vida no hayan experimentado alguna de estos sentimientos hacia sí mismas.
Vernichtung der Logik, Vernichtung des Gedächtnisses, Vernichtung der Archäologie, alle Individualitäten in ihrem Augenblickswahn achten sind nur ein paar der Forderungen, die Tristan Tzara in seinem Manifest des Dadaismus erhob. Mit Hans Arp und Hugo Ball gründete Tzara die Zürcher Gruppe des Dadaismus.
Oskar Maria Graf, Ricarda Huch, Hugo Ball, Lion Feuchtwanger, Heinrich Mann, Thomas Mann, Rainer Maria Rilke, Ernst Toller oder Karl Valentin – nur ein Bruchteil der Künstlerscharen, die zumindest Zeitweise in München-Schwabing gelebt haben und damit am Image des Stadtviertels als Kristallisationspunkt der Künstler-Bohème mitgewirkt haben. Das frühere Dorf Schwabing, urkundlich bereits 782 erwähnt, also älter als München selbst, wurde, längst zum Stadtteil Münchens geworden, nach der Neugründung der Kunstakademie im Jahre 1885, zum Künstlerviertel. Ob der Künstlerglanz auch 1922 noch strahlte, beurteilte das 8Uhr-Abendblatt am 20. September. Paula Leu war für uns vor Ort.
Sprache und Malerei - zwei Schwestern der Kunst. Im aktuellen Lyrikpodcast Seelenfutter präsentieren Susanne Garsoffky und Friedemann Magaard zwei farbintensive Gedichte, das eine blau-schwarz-violett-weiß dramatisch und düster, das andere mit Sommerfarben blau-rosa-gelb. "Der blaue Abend" von Hugo Ball steht neben "Blau ist mein Hut" von Therese Chromik. Dazu Bibelworte aus Genesis und den Psalmen. Seelenfutter eben.
Ein Gewitter gehört zum Sommer genauso wie Hitze und Sonnenschein. Aber das ist kein Grund, euch die Laune verregnen zu lassen. Denn Pfützen eignen sich ganz wunderbar, um in ihnen herumzuspringen. Vielleicht flattern euch dabei ja auch “Seepferdchen und Flugfische” über den Weg. Marie Fuchs liest euch das dadaistische Gedicht von Hugo Ball vor. Hier findet ihr den Text: https://www.literaturwelt.com/seepferdchen-und-flugfische-hugo-ball/ ----------- **Vorlesungszeit** ist ein M94.5-Podcast. © [M94.5 - ein Angebot der MEDIASCHOOL BAYERN.](https://www.m945.de/) Lust auf mehr junge & frische Formate?
Wilke, Insawww.deutschlandfunk.de, BüchermarktDirekter Link zur Audiodatei
Bianca Pyl e Luís Brasilino entrevistam o jornalista Leonardo Foletto, autor do livro “A cultura é livre: uma história da resistência antipropriedade” (https://bit.ly/3JdxLsc), publicado em 2021 pela editora Autonomia literária, em parceria com a Fundação Rosa Luxemburgo. A obra trata da ideia de cultura livre dos gregos ao digital, passando pelo surgimento da imprensa, dos direitos autorais, das tecnologias do século XIX (rádio, fonógrafo, cinema), dos movimentos e ações de resistência ao copyright do século XX e do download livre. Conversamos sobre a cultura na Grécia antiga, as origens do plágio, a invenção da imprensa e seu impacto na propriedade intelectual, remuneração das criações artísticas, a explosão da indústria cultural, as transformações provocadas pela aparição da mídia digital, os movimentos de resistência e muito mais! Leonardo é mestre em Jornalismo e doutor em Comunicação e suas pesquisas estão focadas em comunicação, tecnologia e ativismo. Em 2011, ele lançou o livro “Êfemero revisitado: conversas sobre teatro e cultura digital”. Trilha: The Beatles, “Strawberry fields forever” (John Lennon e Paul McCartney); e Talking Heads, “I Zimbra” (Brian Eno, David Byrne e Hugo Ball).Esse episódio apoia a #OPodcastÉDelas2022.
Programa Vivir Rodando 143 (22 Enero 2022) Invitado: Jordi Costa Actualmente todos llevamos una máscara; y no, no es la máscara quirúrgica que nos protege de un virus mortal. La máscara que llevamos no se ve y es la que nos permite vivir en un mundo hostil. Por eso, cuando nos ponemos una máscara que nos oculte el rostro es cuando podemos ser nosotros mismos. El proceso de enmascaramiento es tan fascinante que ha dado un prodigioso libro reciente: Algunas cosas oscuras y peligrosas. El libro de la máscara y los enmascarados, editado por La Felguera en 2019 y escrito por Servando Rocha, todo un autor clásico en cuanto a hablar de cultura subterránea. El libro, apasionante y apabullante, evita, en cierta manera, la cuestión antropólogica para adentrarse en terrernos más políticos, activistas o culturales. El libro ha dado pie a una exposición titulada La máscara nunca miente, que se puede visitar en el CCCB (Centre de Cultura Contemporània de Barcelona) y que está comisariada por el propio Servando Rocha y Jordi Costa, jefe de exposiciones del CCCB. La exposición repasa algunos de los pasajes de la obra de Rocha: el Ku Klux Klan, el Cabaret Voltaire de Hugo Ball y Emmy Hennings, los míticos villanos folletinescos franceses Fantômas e Irma Vep o, entre otras muchas cosas, la máscara de Guy Fawkes, que ha pasado de ser protagonista de un mítico cómic y una popular película a ser un elemento que puede representar varias cosas a la vez. En el programa Vivir Rodando 143, con la ayuda de Jordi Costa, hacemos un viaje por la exposición del CCCB, el libro de Rocha, conocemos a algunos ilustres enmascarados y nos preguntamos sobre el uso de la máscara histórica y actualmente.
Dadaists made photomontages, sculptures, and readymades that were weird and absurd. Artists such as Hannah Höch, Baroness Elsa von Freytag-Loringhoven, and Marcel Duchamp pushed the boundaries of what could be considered art. If you've ever felt like the world doesn't make sense, then you'll want to tune in for Klaire Lockheart's explanation of Dada. Art and Artwork: Marcel Duchamp (Fountain ), Jean/Hans Arp (Collage Arranged According to the Laws of Chance), Sophie Tauber-Arp (Dada Head), Hannah Höch (Cut with the Kitchen Knife Dada through the Beer-Belly of the Weimar Republic, Indian Dancer: From an Ethnographic Museum), Raoul Housmann, Alfred Stieglitz, Baroness Elsa von Freytag-Loringhoven (Enduring Ornament, God, Fountain), Morton Schamberg, and André Breton Additional Topics: Existential Crisis, World War I, Hugo Ball, Emmy Hennings, Cabaret Voltaire, Tristan Tzara, World War II, “The Painter,” American Society of Independent Artists, Beatrice Wood (“The Richard Mutt Case”), and Richard Mutt klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart
durée : 00:04:30 - Bulles de BD - par : Laetitia Gayet - L'histoire n'a retenu que Hugo Ball, Tristan Tzara et consort pour Dada. Pourtant, à l'aune de ce roman graphique, on découvre qu' Emmy Hennings joua un rôle non négligeable dans l'avènement de ce mouvement artistique au début XIXème siècle.
durée : 00:04:30 - Bulles de BD - par : Laetitia Gayet - L'histoire n'a retenu que Hugo Ball, Tristan Tzara et consort pour Dada. Pourtant, à l'aune de ce roman graphique, on découvre qu' Emmy Hennings joua un rôle non négligeable dans l'avènement de ce mouvement artistique au début XIXème siècle.
Concluimos nuestra serie de cinco emisiones dedicadas a celebrar la aparición de “Ólobo”, un volumen de excepcional importancia en el ámbito editorial vinculado al arte sonoro y las músicas experimentales. Con el artista, investigador y profesor José Antonio Sarmiento como artífice, esta gruesa publicación compila en formato libro todos los contenidos aparecidos originalmente en la revista digital de arte sonoro del mismo título, que a partir del año 2000 se dedicó a estudiar el trabajo experimental de artistas que trabajan con la voz, el ruido, la acción musical o el radioarte, entre otras muchas posibilidades. Cada programa de esta serie radiofónica glosará los contenidos de uno de los cinco números de la revista reunidos en el libro que presentamos. Este volumen, ya disponible en librerías, ha sido recientemente publicado por la Universidad de Castilla – La Mancha, concretamente a través de su prestigioso Centro de Creación Experimental, vinculado a la Facultad de Bellas Artes (ubicada en la ciudad de Cuenca) y dirigido por José Antonio Sarmiento, que ha desempeñado allí desde hace décadas una fundamental labor magistral. El quinto de los números de la revista “Ólobo” no llegó realmente a publicarse, pero una serie de textos sí fueron editados y, en su caso, traducidos, y la nueva publicación en formato físico los recoge por vez primera. Así, en las últimas páginas de este volumen podemos leer los textos “Las pruebas de Hindemith para crear ‘piezas musicales específicas para gramófono’ en el contexto de una historia de las ideas de la música mecánica en el siglo XX”, de Martín Elste; “Música moderna en el disco gramofónico”, de H. H. Stuckenschmidt; “Por el oído, la música busca su séptimo sello”, de Ernesto Giménez Caballero —figura cuya recuperación debemos, en gran medida, a José Antonio Sarmiento— y “John Cage sobre la enseñanza”, de William Fetterman. En este último programa de la serie aprovechamos para retomar algunos textos pertenecientes a los números anteriores que, por diferentes razones, no obtuvieron suficiente atención en las emisiones previas. Junto a ellos, presentamos una selección de audiciones vinculadas a ellos: “Línea de abandono” y “Parlantes”, ambas de Manuel Rocha Iturbide; “Sinfonía de Sirenas # 5”, del artista conocido como Tres; finalmente, escuchamos la superposición de “Cartridge Music”, “Atlas eclipticalis” y “Winter Music”, todas ellas compuestas por John Cage, e interpretadas por David Behrman y Takehisa Kosugi (electrónica en vivo), Engharad Davies y Lina Lapelyte (violines), Anton Lukoszevieze (violonchelo), Rhodri Davies (arpa), Robyn Schulkowsky y Ram Gabay (percusión), todos ellos con la BBC Scottish Symphony Orchestra dirigida por Ilan Volkov, y John Tilbury, Frank Denyer, Aki Takahashi y Christian Wolff (pianos). En el inicio de cada uno de los programas de esta serie escuchamos, además, una versión del poema fonético “Karawane”, compuesto por el dadaísta Hugo Ball en 1916 y presentado en el contexto del Cabaret Voltaire. Ese poema incluye una palabra sin significado (o con todos los significados), “ólobo”, que José Antonio Sarmiento escogió para dar nombre a esta revista/libro. En este quinto y último episodio de nuestra serie, la interpretación de “Karawane” que escuchamos al inicio corresponde a Jerome Rothernberg. Escuchar audio
Proseguimos en nuestra serie de cinco emisiones dedicadas a celebrar la aparición de “Ólobo”, un volumen de excepcional importancia en el ámbito editorial vinculado al arte sonoro y las músicas experimentales. Con el artista, investigador y profesor José Antonio Sarmiento como artífice, esta gruesa publicación compila en formato libro todos los contenidos aparecidos originalmente en la revista digital de arte sonoro del mismo título, que a partir del año 2000 se dedicó a estudiar el trabajo experimental de artistas que trabajan con la voz, el ruido, la acción musical o el radioarte, entre otras muchas posibilidades. Cada programa de esta serie radiofónica glosará los contenidos de uno de los cinco números de la revista reunidos en el libro que presentamos. Este volumen, ya disponible en librerías, ha sido recientemente publicado por la Universidad de Castilla – La Mancha, concretamente a través de su prestigioso Centro de Creación Experimental, vinculado a la Facultad de Bellas Artes (ubicada en la ciudad de Cuenca) y dirigido por José Antonio Sarmiento, que ha desempeñado allí desde hace décadas una fundamental labor magistral. El cuarto de los números de la revista “Ólobo” (aparecido originalmente en el año 2003) contiene los textos titulados: “Ver; oír: Fluxus” y “Nam June Paik, compositor”, ambos de Michael Nyman; una entrevista con Allan Kaprow, de Joan Marter; “La instalación sonora”, de Manuel Rocha Iturbide y “Estética post-cageana y la partitura ‘evento’”, de Liz Kotz. En esta emisión leemos algunos extractos de esos textos, que escuchamos junto a una serie de audiciones vinculadas a ellos: “Prepared Piano for Merce Cunningham”, “Duett Paik/Takis” y “Hommage à John Cage”, todas ellas compuestas e interpretadas por Nam June Paik. En el inicio de cada uno de los programas de esta serie escuchamos, además, una versión del poema fonético “Karawane”, compuesto por el dadaísta Hugo Ball en 1916 y presentado en el contexto del Cabaret Voltaire. Ese poema incluye una palabra sin significado (o con todos los significados), “ólobo”, que José Antonio Sarmiento escogió para dar nombre a esta revista/libro. En este cuarto episodio de nuestra serie, la interpretación de “Karawane” que escuchamos al inicio corresponde a Anat Pick. Escuchar audio
The office receives a grisly letter from the early 20th century about an experimental composer. Conway muses about his past and present. (CWs: blood, body horror, knuckles cracking, death) Music: Purcell - Rondeau From Abdelazer Vivaldi - Concerto for Two Violins in A Minor Saint-Saëns - Danse macabre, Op. 40 TRANSCRIPT: CONWAY: This is Conway, receiving clerk for the Dead Letter Office of ***** Ohio, processing the national dead mail backlog. The following audio recording will serve as an internal memo strictly for archival purposes and should be considered confidential. Need I remind anyone: public release of this or any confidential material from the DLO is a felony. Some names and places have been censored for the protection of the public. Now this is an old one. I feel like if I'm not careful opening this, the whole thing's gonna tear. Dead Letter 312. A letter addressed to a Mr. Markos. I'm not entirely sure how it made it into our backlog, given it's about 100 years old, but there appears to be no address for this Mr. Markos. The letter reads as follows. EDGAR, NARRATOR: "Malicious. Obscene. Substandard. Most disagreeable and indigestible. The proverbial Dickensian crumb of cheese splattered on the stage by an ill-tempered mind, one assuredly perverted by rhythm and reason hitherto unknown to polite society. A complete aesthetic and moral failure for Monsieur Edgar, and a black spot on all contemporary English works. Perhaps Edgar should have retained his study of internal medicine, whereby he could make messes of the human form as he sees fit, sans audience." These “kind words” and more you levied at my first premiere in Paris one year ago, Monsieur Markos. Certainly your confidant Madame Stein has long ago heard the tale of my ballet's misfortune and ensured all the other aesthetes gathered in her gilded salon from Apollinaire to Matisse know my shame. I can imagine you poring over this text now, after my second premiere, in a frenzied allegro--perhaps accompanied by the horns of bobbies--seeking any news of your daughter's health, any drop of comfort for your troubled heart. Though my frame shudders with mirth at the mere thought, that revelation must come in due course, monsieur. First I should like to give you a thorough recounting of the creation of my latest, and final, piece. One evening the 25th of October, 1915. Deep in the trench of a gas-laden graveyard, a medic stood just outside the range of an artillery shell detonation. Three other medics within the radius were torn apart and died instantly, along with several soldiers a touch more slowly, leaving just this lone medic as the frantically bandaging witness. It was in these trenches that the medic saw the true barbarity of our race, the needless suffering we undergo and inflict for the benefit of our supposed betters. We, merely the chess pieces of our modern gods callously tossed off the board for a coin. He saw the very threshold of what man's body can endure, and what Herr Freud might call the collective psyche of a nation can withstand--or bury. You, Monsieur, championed this war in your paper of record and seem determined to bury its atrocities. At the time of my release from service, a friend apprised me of the goings-on at a salon in Zurich, of Mr. Hugo Ball and his associates at the Cabaret Voltaire. I was divinely inspired by their destruction and reconfiguration of the old modes into new ones, of the unseen grotesque discovered. The absurdity of our modern condition, in the twisted forms in a Braque, or a Duchamp, were not so dissimilar to the horrors of the Great War, to the bodies out of joint and out of space strewn across Europe. I spent the majority of my cached income to bring these radical new movements to the orchestra, to replicate the impossible bodies in dance, and to never let us forget what they have done to us, and what you and yours encouraged; the grinding of our bodies into dust in the gears of imperial war and industry. As for Stein and all: I hadn't the slightest interest in their approval in any case. However, since my premiere, your words had rattled around my mind like a sharp stone in my shoe. I thought I'd be rid of it only to be sorely reminded of its presence by a prick in the heel. I did not seek your approval, yet your critique soured me on my own work. I was driven to rework the piece entirely, to transmogrify it into a ballet that would test the very limits of the form itself. The fruits of this labor you were witness to this very night. I began the process many months ago. I would spend hours in my parlor with my mandolin, plucking out atonal melodies and discordant passages derived from sources both holy and profane. Dominant sevenths with no tonic, tritones without resolution. I found these enlightening, but not fully to my taste. There was a rhythmic certainty to even the most foul tonal combinations. My purpose then became to create rhythmic oddities. I tried playing in time with my metronome with the right hand and freely with the left, ensuring the notes were never fully in sync. This produced a most curious push and pull, a feeling of always being off balance and many missed notes. Yes, something akin to this might do well. Throughout the period of composition, I would snatch pieces of unrelated sound, the babbling of a river, the whistle of a shopkeep, and turn them into notes for my tone poem. The piece's vacillations and rhythmic intricacies would demand top-tier performers. I scoured the city for musicians who could perform my work. After numerous failures and a handful of misunderstandings, I hired two of the finest players in our county and filled the rest of the cast with novices. With my orchestra assembled and my score as completed as necessary, it then came time to select my ballerina. I met the prospective mademoiselle for tea one hazy morning. Her demeanor was most agreeable, and we got on fabulously. I had little money left, but my enthusiasm for the work convinced her to join our motley group. I found in her initial routines that she wasn't one of the many children of artistic figureheads given praise simply for a name, devoid of their progenitor's talent: quite the opposite, in fact. I found her skill astounding regardless of her parentage, and she held none of the contempt or pretense so often found in the offspring of great men. I gathered them all together the following day for our first rehearsal. The mademoiselle moved beautifully to the arhythmic flow, but the musicians left something to be desired. The performers all played off tempo and off-key, but not in the intended manner. I tried to reign in the chaos, but the novices grew frustrated with my demands, leading to a swath of musicians walking out of my studio. I was left with only a violinist and pianist. The capital was gone, so this would have to do. Oh, what accidents lady fortune brings us from time to time which illuminate the importance of a thing overlooked. With merely the two musicians and the mademoiselle--a truly sparse arrangement--the work came alive. The keys and strings battled and tangled, swaying in and out of time, leaving empty space in which the dancer could play her part. I watched her gyrations with keen interest, an interest I must admit grew beyond the professional. She was the fairest collaborator I had ever known. Not only could she aptly perform the steps I laid out, she absolutely understood them. The only apprehension she had was when I occasioned the rehearsals always to cease before the finale. Separately I worked with the players so that they may know their score, but never the mademoiselle. This, I told her, would shroud the final movements in mystery, even from the performers. Before we were ready to perform, however, it was inevitable that the finale be practiced. I took the mademoiselle through the steps slowly, half-tempo and half-intensity: I showed her the proper angles and bends, and she showed me her exquisite techniques. She found the choreography most unnatural and quite difficult even at such a speed, which I admit now is the intent, and I instructed that she not under any circumstances perform it at its full force before the premiere. To do so carelessly could be fatal: an imprecise leap, stumbled stretch, or ill-guided fold may land one in the grave rather than the headlines. Watching the Mademoiselle move recalled for me the impressive feats of which man's body is capable with the proper care and training. My medical studies gave me a superior mechanical knowledge of man's carriage, and I am also schooled in dance, yet her capabilities outstripped my own. As we practiced day by day, I was smitten first with her dance, then with the woman herself, though it was an affection that was largely kept hidden lest it destroy the very thing we on which we worked. I know not whether she felt the same, but it hardly matters; the yearning of a love unrequited is a literary gift all its own. After some weeks of rehearsal and revision, the piece was ready to be consumed by the public. We were given a small space in a local hall. We began sending out invitations. Yours, Monsieur Markos, I trust found you well. And whom else should you find advertised on the bill that evening but one of the finest dancers in our fair city, Mademoiselle Alice Markos? Is it not fitting that the daughter of the preeminent critic and writer of our time should perform in the next historic ballet? Now that you have been made privy of the history of this piece, Monsieur, I would like to briefly prognosticate its future. It is the very morning of the premiere as I am writing, and if you and the piping peelers would be so kind as to indulge my fantasy, I shall tell you how the performance no doubt went. You entered the concert hall, dressed in your black finery and hat, cane in hand. You sat near the rear of the theater, the better to disguise your presence from myself lest I mistake your appearance here for serious interest in my little farce. The house went quiet. Two performers hardly make an opera, you thought! Then the music began, a series of jerky, stilted lines, seemingly in constant struggle to be held together. Your daughter took to the stage next, dressed in naught but red bandages, a black cloth over her eyes. Her movements came quickly and suddenly, as if she herself wasn't aware of her next step. Murmurs arose from the audience, displeasure and confusion mingling. The mademoiselle's gestures were all raised knees, thrown elbows, more akin to the vicious maneuvers of illicit prize fighters than dance. Her arms swung side to side, twisting her torso, dark hair flailing in the light. She dropped to the stage floor curling and writhing her limbs violently as if on fire. Several patrons scoffed and rose to leave, others chuckled nervously or began booing. The dancer crawled across the open space, pulled by some malicious invisible presence. The music paused as the ballerina spun on knees and elbows, gesticulating outward with such force, the only remaining sound on stage being the scuffling and squeaking of bare flesh on the varnished wood. One arm flung outward toward stage-left as the pounding music swelled once more, then the body followed, jolting that direction and leaving the audience. By this point, the viewers were surely in a feverish excitement of various emotions. I can already hear the shouts and jeers, the pounding of fists on the seats, the gnashing of teeth and covering of eyes. If I may badly misquote the American Williams: Aircrafts slamming joyfully into the earth, youths throwing themselves into the streets to be run over wailing, “Someone has written a ballet!” But out stepped the dancer in all black, with a white mask obscuring every form and feature. The piano and violin crescendoed toward the finale. The dancer swayed back and forth, farther and farther, until they fell, collapsing faceward to the stage, unmoving. At this point I'm sure you leaned forward, straining to see if your daughter was ill or injured. Then the dancer's limbs began bending backward, twisting as if under the spell of Mephistopheles himself. Legs and arms folded and cracked like twigs underfoot. The spine stretched and curved. The dancer curled themselves into a knotted ball, then suddenly jerked their head. The dancer was very still, and the audience went quiet until dark red liquid began seeping through the mouth of the white mask, staining in its wake and dripping onto the floor. Blood pooled and dripped down the side of the stage. The audience erupted into a panicked mob, many running for the exits, the others climbing over the chairs to check on the dancer, and you paralyzed with fear, spirit sinking. Then the floor dropped beneath the dancer, the curtains closed, and the composer fled from backstage into the alley. It's quite impressive what can be done to the human body with the proper training. Yes, Monsieur Markos, the curtain calls for every one, even your precious daughter. The dance of death unites us all, from the nameless soldier to the illustrious writer, from the lowly Edgar to the mighty Cezanne, and tonight I have made this fatal ballet quite literal. Though it is not your daughter's day to die. No, Monsieur, I am no murderer: my beloved Mademoiselle is safe at my studio in my conductor's garb. Remember I am established in dance, myself, Monsieur, and rehearsed daily with your daughter. She taught me all I needed and more. For the final act of my final piece, I exchanged roles with the ballerina, so that the composer became the dancer vice versa. Make messes of the human form, indeed, monsieur. Now if you would open the door behind this note and check beneath the stage with the enclosed key. You may still find me barely clinging to life among the black kegs if you're fleet of foot. And bring those constables, I'm sure I'll have quite a bombshell waiting for you. Yours in the Danse Macabre, Monsieur Edgar CONWAY: Quite the grisly anecdote, if I say so. There's no address, and even if there was, I doubt any of the involved parties would still be around to receive it. Its contents have been archived regardless, and there's nothing in here that warrants storage in our vault, so...I guess I'll see if our local history museum has any interest in it. Heat. CONWAY: Atomic clocks are the most precise keepers of time that we've made so far. They measure the radiation given off by an electron in a cooled cesium atom as it changes energy levels. A second has passed when the device's oscillator measures 9,192,631,770 cycles of radiation. Light. I was good friends with her growing up. We played together a lot, shared secrets. She lost her arm when she was 10. Now that's not just a figure of speech either. She actually lost it; no one knows where it went. We were out in the woods near Springfield climbing in trees, throwing rocks, and whatever else kids with busy parents did at that age. We found a cave, a small hollow spot in a wall of shale. She went in. I was worried about getting in trouble, so I waited outside anxiously. Decay. Eventually the oscillator's measurements will be a little bit off. One second every few million years, or something like that. You know, everything breaks down; entropy gets the best of us all. She came out without her left arm, no pain, no tears. Doctors were surely flummoxed. There's really nothing written in stone that says decay has to go that way, though. What happens in that missing second every million years? Hey, have you tried to shove a handful of cereal in your mouth but drop some, then look down in disbelief as the puffed circles form a pyramid on the ground instead of scattering everywhere? You ever make a little sandcastle in the sun only to watch the wind sweep it away, piece by piece, and make it into an even bigger sandcastle a few feet away? Well, I hadn't either, 'til then. 'Til she lost her arm. I've been with this office for 6 years, but it might as well be a lifetime. Sure, I'd seen some weird stuff before, that's why I got the job in the first place, but the sheer volume here can't be a coincidence. They got me sorting through old mail looking for god knows what. I've got criteria, I've got a list, but it all seems pretty arbitrary if you ask me. I mean like, “If the letter evokes sad memories of your childhood, it must not be delivered.” Yeah, okay, sure. “If your nose itches while reading the letter, it may be delivered.” I just don't get it sometimes. UNKNOWN VOICE ON PHONE: “Jeez that's neat and all, but what does it have to do with the statue, Conway?” CONWAY: I'm just trying to figure out what it all means. What it is. UNKONWN VOICE: “Uhh It's an angel, Conway.” CONWAY: Well, yes, but...but why? Why Kenji? What's the symbolism? What do angels do? UNKNOWN VOICE: “I don't know, like guide you up to heaven? Aren't they the sort of like the go-betweens for god and us?” CONWAY: You know, you may be onto something. They're a connection, right? A bridge between the realms of heaven and earth. They hang around at the boundary between worlds, and they take you somewhere else. Somewhere different. But where, though? Where...where's Ken-- *DIAL TONE, followed by BUSY SIGNAL*
Wofür wollen wir protestieren? Wofür müssen wir sogar protestieren? Vergangene Woche hatten Sophie und Hans Scholl ihren 78ten Todestag. Teresa Hofmeister liest einen Text, in dem der Autor Hugo Ball schon 1919 über eine vermeintliche Deutsche Protestkultur geschrieben hat, die in Wahrheit einer Mentalität der Überlegenheit entsprungen ist. Es geht um zeitlose Strukturen, an die sich um der Geschichte und um der Zukunft Willen immer wieder neu erinnert werden sollte. In den drei Minuten des Innehaltens hört ihr einen Auszug aus „Zur Kritik der Deutschen Intelligenz“ von Hugo Ball.
Un día como hoy, 22 de febrero. Nace: 1788: Arthur Schopenhauer, filósofo alemán (f. 1860). 1886: Hugo Ball, escritor y poeta dadaísta alemán (f. 1927). 1900: Luis Buñuel, cineasta español (f. 1983). 1972: Rolando Villazón, cantante mexicano. Fallece: 1903: Hugo Wolf, compositor austriaco (n. 1860). 1942: Stefan Zweig, escritor austriaco (n. 1881). 1980: Oskar Kokoschka, artista austríaco (n. 1886). 1987: Andy Warhol, artista estadounidense de pop-art (n. 1928). Una producción de Sala Prisma Podcast. 2021
Abschiedlich geht es zu beim 35. Seelenfutter. Susanne Garsoffky und Friedemann Magaard stellen in ihrem Lyrik-Podcast zu dem Gedicht "Abschied" von Hugo Ball das Poem von Matthias Claudius mit dem Titel "Der Tod und das Mädchen". Abschiedlich im allgemeinen Sinne und auch ganz konkret. Abschied auf Zeit und auch für immer. Oder doch nicht für immer? Dazu gibt es Bibelverse aus Psalm 139 und dem Lukasevangelium.
I Zürich i det neutrala Schweiz samlades under första världskriget personer som hade lämnat sina hemländer för att undvika krigstjänst. Några av dessa startade våren 2016 en kabaret på Spiegelgasse 1, Cabaret Voltaire. Under samlingsnamnet och slagordet dada framfördes experimentella dikter och visades experimentell bildkonst. Ledare var Hugo Ball, en tysk som snart kom att överge dada för att istället ägna sig åt kristen mystik. Andra närvarande tog efter krigsslutet med sig samlingsnamnet och slagordet till andra platser, så rumänen Tristan Tzara till Paris och tysken Richard Huelsenbeck till Berlin. Samma skrin stämdes upp i flera väderstreck: "Dada betyder ingenting", "Dada är mer än dada", "Världen är bara en filial till dada". Vad ville de skrikande poeterna, egentligen? Jonas Ellerström, bokförläggare, essäist och översättare, samtalar med Peter Luthersson.
Det är med hjälp av språket vi begär inträde i olika gemenskaper. Men vad händer när våra språk dör och förfaller? Det undersöker litteraturvetaren Jimmy Vulovic i den här essän. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Långt innan psykoanalysen var ett ord på allas läppar, formulerade den 35-årige neurologen Sigmund Freud en teori om språkapparatens sönderfall och försvinnande. Studien fick titeln Om uppfattningen av afasi och publicerades 1891. Han talar där om språkrester, Sprachresten, som är likt skärvor av språk som efterlämnat ett utarmat idiom hos afatikern, från en tid när denne ännu var förmögen att tala. Ibland kan språkskärvorna utgöra segment av specifika samtal, deklarationer eller utrop som spelat en avgörande roll i patientens liv innan de blev nästan tysta. Som i fallet med den brutalt misshandlade mannen vars språk krossades av hårda slag mot huvudet. Jag vill ha skydd var den språkskärva som blev kvar i honom. Därefter upprepade han den frasen hela tiden. En viktig tanke hos Freud är att språkets rester är kopplade till starka känslor, till en stark inre intensitet. Då det gäller den sönderslagne mannen är det ju uppenbart. Och visst kan vi väl ana den oerhörda lättnaden hos den kopist som just hade slutfört ett mödosamt arbete med en katalog när han drabbades av stroke. Listan fullständig blev hans språkliga skärva resten av livet. Det är nog inte till Sigmund Freud som dagens afasiforskning vänder sig, men som så ofta får hans tankar oss och se saker på ett nytt sätt eller ger en stark och poetisk bild av något mänskligt. Som här om människans fångenskap i språket, att en yttre identitet ofta står och faller med grammatik och ordförråd. Antagligen tänkte och kände både kopisten och den misshandlade precis likadant, lika rikt och nyanserat, som innan de tragiska händelserna, men för omvärlden framstod de efter det ändå bara som oändliga upprepningar av tomma fraser. Freuds teori lyfts fram i litteraturvetaren Daniel Heller-Roazens bok Echolalia: Att glömma språk. Titeln säger vad det handlar om, språk som dör och försvinner. Det drabbar oss alla och börjar tidigt i livet. Med avstamp i språkforskaren Roman Jakobsons avhandling Barnspråk, afasi och allmänna ljudlagar från 1941, reflekterar Heller-Roazen över barns jollrande, ett uttryck inför vilket hela världen tycks ligga vidöppen. Spädbarnets fonetiska artikulationskapacitet är nämligen till en början obegränsad. I det till synes meningslösa pladdrandet finns det ljud från vitt skilda språk och språkfamiljer. Barnets möjligheter att bli precis vem som helst är oändliga. Ända till den stund då det lär sig ett specifikt språk. Då börjar en långsam men obeveklig reduktion av spädbarnets potential. Kanske är förlusten av en oändlig fonetisk arsenal det pris barnet måste betala för att erkännas medborgarskap i en enskild språkgemenskap, skriver Heller-Roazen. Det tidiga 1900-talets dadaister drömde sig länge tillbaka till tiden innan vi låstes fast vid ett språk. Hur uppnår man evig lycka, undrar Hugo Ball i Dada-manifestet från 1916 och svarar: Genom att säga dada, helt enkelt. I dada bäddades varsamt en dröm ner. Drömmen om att till slut få vakna upp ur det första världskrigets kollektiva mardröm. Men världen sov oroligt vidare. Jag vill inte ha ord som andra har uppfunnit, fortsätter Hugo Ball, jag vill ha mina egna ord, min egen rytm och egna vokaler och konsonanter också. Allt det låter förstås som nonsens nuförtiden. Och det var det ju också. Det var själva poängen. Men hur tramsigt det än låter i vår tid så visade dada-rörelsen något viktigt om språket, språkinlärning och språkets makt. Gemensamma ord, tecken och grammatik är mönster som vi alla måste underkasta oss för att få tillhöra. Dadaisterna ville befria människan från det. Samtidigt, för att inte helt förirra sig i en romantisering av nonsenslallandet, så måste väl språkets alla möjligheter också framhållas. Prometheus, den förutseende titanen som stal elden från Zeus och gav den till oss människor. Så kallar lingvisten Noam Chomsky den första person som genom någon liten genmutation föddes med en förmåga att förstå grundläggande språkregler och som därmed kunde skapa kognitiv mening och se sammanhang i tillvaron. Enligt teorin föds människans språkförmåga alltså främst för kognitionens skull, inte kommunikationens. Mutationen gjorde i sin tur att Prometheus ättlingar vann stora evolutionära fördelar, eftersom de kunde tänka bättre, mer strukturerat, än andra omkring dem. Exempelvis måste förmågan att föreställa sig den språkliga konstruktionen då, alltså det nu som var men inte längre är, ha inneburit en fördel. Inte minst då det gäller planering och jakt: Varelsen gick här många gånger då. Nu gömmer jag mig här tills den kommer igen. Evolutionen gjorde sedan vad den gör bäst. Människorna med mest gynnsamma förutsättningar i en miljö, det vill säga dem med förmågan att tänka strukturerat, överlevde medan andra gick under. Och längre framåt vägen, då språkgenmutationen väl segrat, kom någon på att de språkregler som länge hade strukturerat tankarna även kunde användas för att kommunicera med andra. Det är förstås ingen som vet säkert var, när, hur och varför språk uppstod. Chomskys teori är bara en av många andra. Mer är dock känt om hur språk fortlever. Fysikern och lingvisten Sverker Johansson berättar i boken På spaning efter språkets ursprung att människans solidaritet och hjälpsamhet är centrala faktorer för vår arts språkliga och evolutionära framgångar. Visserligen kan andra arter också kommunicera, men det sker inom ramen för kommunikationssystem som är begränsade till ett här och ett nu. Vi har däremot förmåga att skapa oändliga ordkombinationer och tala om vad som hände igår, det som händer idag och vad som kanske kommer att hända imorgon. Dessutom kan vi ljuga och dikta ihop saker som inte existerar. Och hur svårt det än kan vara att tro det, så är människan i jämförelse med exempelvis schimpanser mindre misstänksam och fientligt inställd till sin nästa. Vi lär av varandra och den öppenheten har gett oss utvecklade gemensamma språk som gjort oss till evolutionära vinnare. Av just den anledningen är det väl därför lite av ett ödets ironi att det nu, i den möjliga kommunikationens allra främsta tidevarv, tycks vara så hemskt svårt att verkligen tala med någon. De skyttegravar som vi så ihärdigt och aggressivt gräver i sociala medier är kanske vår tids Babel, en förskingring som blir resultatet av något som egentligen skulle kunna ha fört oss samman. Det gränslösa internet är nu så fullt av dragna gränser där vi om och om igen står och skriker våra vassa språkrester, skriker samma tomma fraser till andra grupper som inte heller verkar vilja lyssna till någon annan längre. Och det mest tragiska i hela den historien är väl att grupperna i ivern att göra sina röster hörda, sina identiteter gällande, glömmer att språk bara till hälften består av att tala och skriva. Den andra hälften är att lyssna, läsa och tänka. Det är ju bland annat därför som det är så svårt för lingvister att bestämma om ett språk dör med den siste talaren, eller om det dog redan då den siste lyssnaren gick ur tiden. Jimmy Vulovic, litteraturvetare
Falaremos sobre o surrealismo, o movimento artístico e literário nascido na década de 1920 em que não existem limites nem julgamento, ditada apenas pelo inconsciente. Uma forma de arte que se caracteriza pela expressão espontânea e automática do pensamento. Incoerente por natureza, proclamava a prevalência dos sonhos, do inconsciente, do instinto e do desejo e pregava a renovação de todos os valores, inclusive os morais, políticos, científicos e filosóficos. Além de artes plásticas, também engloba literatura, cinema, fotografia, teatro, etc - Participante: Cintia Vaz e Julia Melo CONTEÚDO DESTE EPISÓDIO: - Dadaísmo - Vandalismo - Tristan Tzara, Hugo Ball e Hans Arp - Max Ernest - Surrealismo - André Breton - O Manifesto Surrealista - André Breton - Surrealismo popular - Salvador Dali - Luis Buñuel - Max Ernst - René Magritte - Cão Andaluz - Cinema Surrealista - David Lynch - Alejandro Jodorowsky - Belle De Jour - O Fantasma da Liberdade (1974) - O Anjo Exterminador (1962) - René Magritte - Joan Miró - Cícero Dias - Luis Buñuel - Museu do Dali - Sonho lúcido - Alice no País das Maravilhas - Automatismo Psíquico - Sigmund Freud - Carl Jung - Gala e Dalí - Briga de Dali com Breton - Chupa Chups - Cubismo - Nu Descendo uma Escada, nº 2 - Marcel Duchamp - Diego Velázquez - Nosso estilo preferido de arte - Susano Correia - Fernando Baril - Rafael Silveira - Paul Delvaux - Remedios Varo - Hieronymus Bosch - Giuseppe Arcimboldo - Giorgio de Chirico - Mark Ryden - Frida Kahlo - Diego Rivera - Leonor Fini - Vito Campanella - Alberto Giacometti - Max Ernst - Man Ray - Maneirismo - Miss Dali - Nosso "Cadáver Delicado": e mais! LINKS COMENTADOS - Canal "Viajando com a Cintia" ► http://bit.ly/2Xa6Rby - Blog Viajando com a Cintia ► https://viajandocomacintia.com.br/ - Julia Melo Instagram ► https://www.instagram.com/ju_missrot/ - Dimitri Kozma Art Instagram ► https://www.instagram.com/dimitrikozmaart - Dimitri Kozma Art Youtube ► https://bit.ly/2A9LgKN - Entrevista com Dali com tamanduá ► https://bit.ly/2ZFAlTy - Filme "Um Cão Andaluz" ► https://bit.ly/2WyyEVI - Filme "Entre Espelhos e Sombras" ► https://vimeo.com/1127812 - Música Quem Sou? (Pés sem Garras) ► https://bit.ly/2DUh5cq Baixar game SURREALIDADE Expressões do Inconsciente - https://dimitrikozma.itch.io/surrealidade Gameplay do game SURREALIDADE Expressões do Inconsciente - https://bit.ly/3e4C61C Canal Kozma Games - http://goo.gl/K5Ibrb ASSISTA: DESAMANTES - LONGA METRAGEM NACIONAL INDEPENDENTE DESAMANTES no Vivo Play ► http://bit.ly/2WSnNFm DESAMANTES no Looke ► http://bit.ly/2KcsK6P DESAMANTES na Amazon Prime Video ► https://bit.ly/3dQwCXJ E-MAIL DE CONTATO ► semfreiopodcast@gmail.com CAMISETAS DO DIMITRI ► http://bit.ly/2XS3eeQ COMPRAR AS ARTES DO DIMITRI IMPRESSAS ► http://bit.ly/2O5H4Pl LIVRO "OS CONTOS DAS SOMBRAS DA MENTE" ► https://www.amazon.com.br/dp/B08BTYZ471 AJUDE A GENTE pelo APOIA.SE e ganhe recompensas ► https://apoia.se/dimitrikozma APOIE A GENTE pelo PAYPAL e contribua para criação de novo conteúdo ► http://goo.gl/f4XRLS YOUTUBE ► http://goo.gl/BZ9mA9 INSTAGRAM ► https://www.instagram.com/dimitrikozmaart CANAL DIMITRI KOZMA ART ► https://bit.ly/2A9LgKN SPOTIFY ► https://spoti.fi/2UYEhcj
"One, two! One, two! And through and through The vorpal blade went snicker-snack!He left it dead, and with its head He went galumphing back." Barry does a deep dive into the world of .... nonsense. He talks about Lewis Carroll's 'Jabborwocky' (did you know that George Orwell wrote an essay about nonsense poetry? Now ya do!) Barry tries on a dubious Irish accent again as he reads from, and talks about James Joyce's 'Finnegans Wake'. Ever thought about the nature of the multilingual pun? Me either! But Barry has, and tells us all about it. (Here you get to hear Barry do a very dubious French accent! No one's safe!) If you're a fan of Father Ted than you're already familiar with Bishop Brennan played by James Norton. Barry plays a bit of Norton reading Finnegans Wake. Not as funny as 'Kicking Bishop Brennan Up the Arse', but it's close!We flip the neologistic album over and the first track on side 2 is The Clash's 'Janie Jones'. Barry talks about an essay he wrote 'Jewels and Binoculars Hang From the Head of the Mule...or do they?' We go from the saccharine 'It Might as Well Rain Until September' to the psychedelic sounds of Pink Floyd's 'BIke'. Then we meet Rambling Syd Rumpo. Shriekback does make an appearance."All chemical all funny-man all belly-flop all dilly dallyAll muddy moan all billy bolly all wobble-why all shilly shallyAll chemical all funny-man all belly-flop all dilly dallyAll muddy moan all billy bolly all wobble-why all shilly shally"Till next time, let's keep in mind what the great Hugo Ball had to say on the subject; 'gadji beri bimba glandridi laula lonni cadori gadjama gramma berida bimbala glandri galassassa laulitalomini gadji beri bin blassa glassala laula lonni cadorsu sassala bim gadjama tuffm i zimzalla binban gligla wowolimai bin beri ban o katalominai rhinozerossola hopsamen laulitalomini hoooo gadjama rhinozerossola hopsamen bluku terullala blaulala loooo'
Der Titel der Dada-Radiooper von wittmann/zeitblom ist Programm: "Gadji Beri", das berühmte Lautgedicht von Hugo Ball, verbunden mit dem Signum für Online-Zeitgenossenschaft, dem Hashtag, und der Jahreszahl 2016. www.deutschlandfunkkultur.de, Hörspiel Hören bis: 14.03.2021 20:05 Direkter Link zur Audiodatei
Hugo Ball – Im Rahmen der Lyrik-Reihe Wiedergehört hören Sie einige Werke des Autors und Biografen Hugo Ball. Der Mitbegründer des Dada wurde 1886 geboren. Er gründete 1916 das Cabaret Voltaire wo er im Juni zum ersten Mal eines seiner Lautgedichte (Gadji beri bimba) vortrug und das als „Wiege des Dadaismus“ bezeichnet wird. Sprecher: Uwe Kullnick
I was translating Dada founder Hugo Ball's 1924 poem when this week's events lead me to transform it into a blues. For more about this and other combinations of various word and original music, visit frankhudson.org
Hugo Ball – Im Rahmen der Lyrik-Reihe Wiedergehört hören Sie einige Werke des Autors und Biografen Hugo Ball. Der Mitbegründer des Dada wurde 1886 geboren. Er gründete 1916 das Cabaret Voltaire wo er im Juni zum ersten Mal eines seiner Lautgedichte (Gadji beri bimba) vortrug und das als „Wiege des Dadaismus“ bezeichnet wird. Sprecher: Uwe Kullnick
In this episode, German intern Hagen Gersie talks about the latest book he's read from our bookstore - The Dada Spirit by Emmanuel De L'Ecotais. Take a listen as Hagen beautifully recites a sound poem by Hugo Ball titled 'Karawane.' A sound poem essentially combines literary and musical composition to emphasize the central role of human speech in the reading or recitation of text. Hagen and Mtha discuss the core idea of the book which is that because of the diversity of Dada creations, the movement is not an "ism" of the art world: there is no Dada "style," although a single spirit does govern the works of this movement, which is at once anti-conformist, anti-bourgeois and above all, anti-artistic. The David Krut Podcast is a production of David Krut Projects. Hosted by Mthabisi Sithole Preview and production by Hagen Gersie Bookstore website: https://davidkrutbookstores.com/ Visit us at 151 Jan Smuts Avenue, Parkwood, Johannesburg or Arts on Main - 264 Fox Street, Maboneng, Johannesburg. Follow us on instagram - @DavidKrutBookstore and Like our Facebook Page!
In 1919, two competing art movements went head-to-head in Paris. One was the Return to Order, a movement about purity and harmony. The other was Dada, a movement about chaos and destruction. Their collision would change the trajectory of Western art. Hugo Ball established the Cabaret Voltaire in Zurich, where Dada came to life in February 1916. In this photo, he's dressed in his "magic bishop" costume. The costume was so stiff and ungainly that Ball had to be carried on and off stage. You can hear the entire text of Ball's "Karawane" on Youtube (https://www.youtube.com/watch?v=z_8Wg40F3yo). You can also read the text (https://poets.org/poem/karawane). Marcel Duchamp arrived in New York to a hero's welcome, a far cry from the disdainful treatment he was receiving in France. He was hailed for his success at the 1913 Armory Show, where his painting "Nude Descending a Staircase" was the hit of the show. "Nude Descending a Staircase" was considered radical art, but it was still oil paint on canvas. Duchamp would soon leave even that much tradition behind. Francis Picabia was handsome, rich, dashing, and about as faithful as an alley cat. That he wasn't court martialed for neglecting his diplomat mission to Cuba for artistic shenanigans in New York was entirely due to his family's wealth and influence. He was also well known in New York for his visit there during the Armory Show. Picabia abandoned traditional painting for meticulous line drawings of mass-produced items, including this work, titled "Young American Girl in a State of Nudity." Duchamp horrified New Yorkers when he presented "Fountain" to an art exhibit as a work of sculpture. A urinal may not seem particularly shocking now, but it violated any number of taboos in 1917. While "Fountain" is generally atttributed to Duchamp, it is possible, although by no mean certain, that it was actually created by the Baroness Else von Freytag-Loringhoven. A German ex-pat, she was creating art out of ready-made objects more than a year before Duchamp and lived her life as a kind of non-stop performance art. Whatever her role in "Fountain," she deserves to be better remembered as a pioneering modernist. After he returned to Europe, Picabia's art became less disciplined and more outlandish. He titled this ink-blot "The Virgin Saint." Picabia also published a Dadaist journal, in which he published this work by Duchamp. It's a cheap postcard of the "Mona Lisa" to which he added a mustache. The title "L.H.O.O.Q. is a pun in French; it sounds like "she has a hot ass." Tzara and other Dadaists in Paris devoted themselves to events and performances. This is a handbill for a "Festival Dada" that took place on May 26, 1920. Tzara and Picabia are listed as performing, along with several other prominent Dadaists including Andre Breton, Louis Aragon, and Paul Eluard. These evenings became increasingly frantic and nihilistic as Dada wore on. By 1919, Pablo Picasso part of the artistic establishment and no longer a radical on the edges of society. In 1911/1912, Picasso paintings looked like this--this is "Ma Jolie," a dense, complicated, frankly intimidating Cubist painting. Ten years later, he painted this work, Woman in White. With its clarity, beauty, and nods to tradition, it is a prime example of Picasso's embrace of neo-classicism after the Great War. The impulse to create clear, simple, ordered art existed in many European countries. In the Netherlands, Piet Mondrian worked in the Neoplasticist movement creating his iconic grid paintings. This is "Composition No. 2" from 1920. At the same time, in Germany the Bauhaus was established. As a school of arts and crafts, it taught a stripped-down, clean aesthetic that applied to everything from architecture to furniture design, industrial design to graphic design. This poster advertising a 1923 exhibition is a good example of Bauhaus design and typography. The Surrealist movement arose out of Dada's ashes in the mid- to late-1920s. It combined the traditional painting technique of neo-Classicism with the bizarre imagery of Dada. Salvador Dali's "Persistence of Memory," for example, is a technical masterpiece, with masterful execution. It's also impossible and, frankly, disturbing. T.S. Eliot's "The Waste Land" gives the impression of randomness, of lines picked out of a coat pocket. In fact, it is painstakingly constructed and shows as much technical skill as Dali's clocks. You can read the poem (https://www.poetryfoundation.org/poems/47311/the-waste-land), or listen to Alec Guinness read it (https://www.youtube.com/watch?v=Hcj4G45F9pw)--or maybe do both at the same time. This meme was created in 2013 by cartoonist KC Green. It captures the Dadaist attitude that shows up in popular culture a great deal here in 2019--a sense that the world is really weird right now. Please note that the links below to Amazon are affiliate links. That means that, at no extra cost to you, I can earn a commission if you click through and make a purchase. (Here's what, legally, I'm supposed to tell you: I am a participant in the Amazon Services LLC Associates Program, an affiliate advertising program designed to provide a means for me to earn fees by linking to Amazon.com and affiliated sites.) However, I only recommend books that I have used and genuinely highly recommend.
Das ungestüme, wild überbordende Textkonvolut "Tenderenda", dessen Teile in der Zeit zwischen Herbst 1914 und Juli 1920 geschrieben wurden, ist das "geheime Vermächtnis" Dadas. Das zweiteilige Hörspiel präsentiert dieses von Ball auch einmal als "Phantatischer Roman" bezeichnete Werk ohne Kürzungen.Mit Meret Becker, Nadeshda Brennicke, Katharina Franck, Patrick Güldenberg, Lilith Stangenberg / Musik: Franz Hautzinger / Regie: Michael Farin / BR 2016 / Länge: 67'02 //
Das ungestüme, wild überbordende Textkonvolut "Tenderenda", dessen Teile in der Zeit zwischen Herbst 1914 und Juli 1920 geschrieben wurden, ist das "geheime Vermächtnis" Dadas. Das zweiteilige Hörspiel präsentiert dieses von Ball auch einmal als "Phantatischer Roman" bezeichnete Werk ohne Kürzungen. Mit Meret Becker, Nadeshda Brennicke, Katharina Franck, Patrick Güldenberg, Lilith Stangenberg / Musik: Franz Hautzinger / Regie: Michael Farin / BR 2016 / Länge: 61'42 //
Jake and Phil discuss Hugo Ball's 1916 Dada Manifesto, as well as Public Enemy's 1988 album It Takes a Nation of Millions to Hold Us Back. The Manifesto: Hugo Ball, Dada Manifesto https://t.co/ZpW3qN32KO The Art: Public Enemy, It Takes a Nation of Millions to Hold Us Back Works Referenced: Photo of Hugo Ball in his costume at the Cabaret Voltaire. https://en.wikipedia.org/wiki/HugoBall#/media/File:HugoBallCabaretVoltaire.jpg Hugo Ball, Karawane https://poets.org/poem/karawane Marcel Duchamp, Fountain https://www.tate.org.uk/art/artworks/duchamp-fountain-t07573 Tristan Tzara, Dada Manifesto 1918 http://writing.upenn.edu/library/TzaraDada-Manifesto1918.pdf Philip Mann, Hugo Ball: An Intellectual Biography Debbie Lewer, Hugo Ball, Iconoclasm, and the Birth of Dada https://www.jstor.org/stable/25650841 Walter Laqueur, Weimar: A Cultural History Jacob Siegel and Angela Nagle, Internet Trolls, Online Cesspools, and Their Real-World Effects https://www.tabletmag.com/jewish-news-and-politics/247110/internet-alt-right-fascists Josef Pieper, No One Could Have Known Adam Bradley and Andrew DuBois, The Anthology of Rap Luigi Russolo, The Art of Noises https://monoskop.org/images/0/09/RussoloLuigiTheArtof_Noises.pdf Terminator X interview with Will Hernandez of WHO?MAG TV http://www.whomag.net/terminator-x/
Eris Drew is a mixer, song writer, keyboardist and vocalist from the Prairie State. She is also Hugo Ball's co-founder and Smart Bar's resident Mother Beat medium. Drew's one-woman bopping live synth act is her personal trans femme travel log. This continuous mix of beats for your jeep is inspired by events, real and surreal, which transpired this year in Detroit during Movement weekend at The Bunker @Tangent Gallery and Club Toilet. We're excited to host Eris at our annual pride party at Output in Brooklyn on June 24, 2017. Bonesbreaks Vol. 2 - Jamming Breakdown 2 (at 45 for the Mother Beat) (Underworld 1988) The True Underground Sound of Rome - C 119 (2016 Analog Remaster) (Vibraphone Records 1995/2016) Renegade Soundwave - Monphibion (Mute 1990) Taxi C.A.B. - Our Musik Iz (Red Dog Mix) (House Jam Records 1994) Person Of Interest (I-95 Mix) (Future Times 2017) Four Legs - Clarky Cat (The Trilogy Tapes 2016) Black Traxx - Sad (Tribal Mix) (Night Club Records 1992) Groove Selecta - Ravejavik (Wildlife Recordings 2016) Epitome of Hype - The Future (Pure Bhoomie 1991) Orbital - Monday (album version) (FFRR 1993) Jäfar - Black Mambo (Fragil Musique 2016) Pizzaro - The Five Tones (Gosa-Lo Recordings 1991) DJ Plant Texture - Gargantuan (Jericho One 2016) DJ Swagger - One's n Two's (E-Beamz 2017) The Latin Age - Está Loca (bonus beats) (Easy Dance Records 1989) Disk - The Spirit (Whiteloops 2017) Gat Decor - Passion (Buzz 1992) Lnrdcroy - Terragem (Unthank 2015) Seura - Whitechappel (Fragil Musique 2016) Car Door Closing, Car Starting, Running (Major Records) Blow - Cutter (mix) (Ten Records 1991) Musto & Bones - Dangerous on the Dancefloor ("Killer-Diller" Dub Mix) (City Beat/Beggars Banquet, 1990) The Shamen - Lightspan - Soundwave Mix (Renegade Soundwave) (One Little Indian Records 1990) Yoshinori Hayashi - Cooling (Gravity Graffiti 2017) Octo Octa - Daylight (Frndzone 01 2017) Environments 6 - Dawn in the Okefenokee Swamp (Sumtonic Research 1974)
SEVRON guest mix + new music from SKEE MASK, SPECIAL REQUEST, ACTRESS + KREIDLER on the latest podcast, hosted by CHRIS WIDMAN. SEVRON is SMART BAR CHICAGO's production manager + resident/co-founder of the club's long-running monthly HUGO BALL night. SEVRON cut his teeth in chicago's 00s club/loft scene, as part of the NO AFFILIATION crew,... The post sevron – absci radio [as0988] appeared first on abstract science >> future music chicago.
Doug and Kirk take a look at recent news in the music and audio world. From audiophile utility poles to iTunes news, from record stores to car radios, this news and views episode keeps you up to date on what matters in music listening. And Kirk gives an update on his first Pearl Jam listening experience. “For $10,000 there better be a powerful placebo effect.” Show notes: News: Pearl Jam: Ten A Gift for Music Lovers Who Have It All: A Personal Utility Pole Records’ rebirth fueled by older music obsessives, not young hipsters Ch-Ch-Changes in the Physical Music Retail Landscape A Couple of Work and Movement Scripts iTunes Gets a Splash of Color iTunes 12.5 and iOS 10 Music App to Add Lyrics to Song Playback Ultravox: The Island Years Wim Martens: a man of no fortune and with a name to come Talking Heads: Fear of Music Hugo Ball Honda Civic 2016: A case study of the disappearing radio Our next tracks: Doug: ZZ Top: Rhythmeen Kirk: Grateful Dead: Dave's Picks Volume 19: Honolulu Civic Auditorium, HI, 1/23/70 If you like the show, please subscribe in iTunes or your favorite podcast app, and please rate the podcast.
Kärlekskranka robotar och en skulptur gjord av 80 ton mänsklig avföring. Det är något av det man kan se på årets upplaga av den ambulerande, europeiska konstbiennalen Manifesta i Zürich. Zürich - staden där dadaismen uppstod för hundra år sedan - öppnar i sommar sina slutna rum för konsten på konstbiennalen Manifesta.Samtidigt firar staden dadaismens födelse: det var 1916 som Tristan Tzara, Hugo Ball och andra radikala konstnärer sökte skydd undan kriget här, och chockade Zürichs borgare med sina vilda upptåg på Cabaret Voltaire.Är dadaismen relevant för dagens konstnärer? Kulturredaktionens Mårten Arndtzén söker svaret på hundsalonger, universitet och laboratorier i Zürich.
Lesung mit Patrick Güldenberg / Textauswahl und Aufnahmeleitung: Michael Farin / BR 2016 // 1924-26 überarbeitete Hugo Ball seine Tagebücher zu dem autobiographischen Werk "Die Flucht aus der Zeit”, das kurz vor seinem Tod 1927 erschien.
Giulio Lattanzi ci racconta il progetto "I distillati", i libri ridotti per favorire i lettori che non hanno abbastanza tempo! Paolo Martore presenta il libro "Cabaret Voltaire" di Hugo Ball, in occasione del centenario del Dadaismo.
I Zürich i det neutrala Schweiz samlades under första världskriget personer som hade lämnat sina hemländer för att undvika krigstjänst. Några av dessa startade våren 2016 en kabaret på Spiegelgasse 1, Cabaret Voltaire. Under samlingsnamnet och slagordet dada framfördes experimentella dikter och visades experimentell bildkonst. Ledare var Hugo Ball, en tysk som snart kom att överge dada för att istället ägna sig åt kristen mystik. Andra närvarande tog efter krigsslutet med sig samlingsnamnet och slagordet till andra platser, så rumänen Tristan Tzara till Paris och tysken Richard Huelsenbeck till Berlin. Samma skrin stämdes upp i flera väderstreck: "Dada betyder ingenting", "Dada är mer än dada", "Världen är bara en filial till dada". Vad ville de skrikande poeterna, egentligen? Jonas Ellerström, bokförläggare, essäist och översättare, samtalar med Peter Luthersson. Producerat av Svenska Filmbolaget 2015.
Wir sprechen natürlich über Twitter, die Anfänge, Zeitreisen in der Timeline zurück zum ersten Tweet, Modem Sounds, Listen und Follower, Verschriftlichung als Problem, die Form der Unruhe Bd. 1 und 2, über Kritik, Wissenschaft und Politik - und das Versagen der Wissenschaft bei der Erfindung neuer Medien, und natürlich sprechen wir über Podcasts - und was daran doch nicht so schlecht sein könnte... Das alles könnte nicht besser enden als mit einem Schlusswort von Hugo Ball... und @sms2sms. Mein Dank an Stefan für dieses grossartige Gespräch!
Ref.: Alfred Sobel, Theologe und Buchautor, Berlin
Ref.: Alfred Sobel, Theologe und Buchautor, Berlin
När första världskriget bröt ut blev Schweiz en fristad för upproriska konstnärer. På en restaurang i Zürich samlades dadaisterna genom Cabaret Voltaire. En plats för uppror och experimentlusta. Gunnar Bolin och Karsten Thurfjell återvänder till Restaurang Meiereis i Zürich den plats som dadaisterna gjorde till sin.Första Världskriget pågick i länderna runt om Schweiz. I Zürich samlade Hugo Ball och hans fru Emmy Hennings några konstnärer kring sig för att bryta med gammalmodiga estetiska ideal. Övriga medgrundare var Tristan Tzara, Marcel Janco och Jean Arp. Konsten skulle stå vid sidan av sociala hierarkier. Cabaret Voltaire blev samlingspunkten för den här konstnärliga explosionen där bullrig musik, diktuppläsning, och bisarra danser ramades in av bilder och kostymer under återkommande soaréer.
David Mitchell (Cloud Atlas, Number9Dream) on his new novel, The Bone Clocks, his illicit dreams of Amsterdam, and why Optimism is probably the best choice – in conversation with John Freeman (How to Read a Novelist). Also: exciting new reissues from Wakefield Press and a second look at Daphne DuMaurier's Rebecca. Find all the titles discussed in this episode at Greenlightbookstore.com/radio7
The Times Literary Supplement - an occasional series of readings. Regular TLS contributor David Collard discusses Hugo Ball's Dadaist novel Flametti. Introduced by Toby Lichtig Find out more: www.the-tls.co.uk See acast.com/privacy for privacy and opt-out information.
Playliste de Rudy Ricciotti pour webSYNradio et texte inedit Sur le Son. Avec Julien Blaine, Laurie Anderson, Martin Kippenberger, Antonin Artaud, Hugo Ball, Chris Burden, Giacomo Balla, Whitehouse, John Giorno …
"Like everything in life, Dada is useless... Dada is a virgin microbe." - Tistan Tzara "With the sound of gusting wind in the branches of the language trees of Babel, the words gave way like leaves, and every reader glimpsed another reality hidden in the foilage." — Andrei Codrescu (The Posthuman Dada Guide: Tzara & Lenin Play Chess) Lecture: DaDa Alex Caldiero The realization that reason and anti-reason, sense and nonsense, design and chance, consciousness and unconsciousness, belong together as necessary parts of a whole - this was the central message of Dada. --Hans Richter Jerome Rothenberg: "That Dada Strain", "A Glass Tube Ecstasy for Hugo Ball", "the Holy Words of Tristan Tzara" Interview: inventing Dada; 'Dada means nothing. We want to change the world with nothing.'—Richard Huelsenbeck Mari Kamuri: "Vitessimo for Augmented Violin" Alone Together: "Dada Music (bara no kodoku long)" Dada Yow knotcast #13 'Wat is dada is wat?' 'Dada is like your hopes: nothinglike your paradise: nothinglike your idols: nothinglike your heroes: nothinglike your artists: nothinglike your religions: nothing'—Francis Picabia Casper & the Cookies: "Duchamp's Camera" 'I have forced myself to contradict myself in order to avoid conforming to my own taste.'—Marcel Duchamp Amiri Baraka: "Black Dada Nihilimus (DJ Spooky mix)" Vincent Bergeron: "L'Art du Désarroi" Tristan Tzara/Richard Huelsenbeck/Marcel Janco: "L'amiral Cherche", "Une Maison A Louer" What we call Dada is a piece of tomfoolery from the void, in which all the lofty questions have become involved . . .' —Hugo Ball: "Karawane" Andrew Chrystall & Bob Dobbs: "Nature Imitates Art" Tom Hamilton & Bruce Eisenbeil: "dusting off dada" Gold Panda: "You" Marshall McLuhan: "The advantage of art is orientation in a complex world", "Satellite Ends Nature" Toby Lurie: "Dada" Ophir Ilzetzki: "(2003) זמן שעובר לא שב" Winter Hinterland: "Lindbergh's Metal Birds" We [Dadaists] are often told that we are incoherent, but into this word people try to put an insult that it is rather hard for me to fathom. Everything is incoherent… There is no logic… The acts of life have no beginning and no end. Everything happens in a completely idiotic way. That is why everything is alike. Simplicity is called Dada. Any attempt to conciliate an inexplicable momentary state with logic strikes me as a boring kind of game… Like everything in life, Dada is useless… Perhaps you will understand me better when I tell you that Dada is a virgin microbe that penetrates with the insistence of air into all of the spaces that reason has not been able to fill with words or conventions. — Tristan Tzara DaDa Put It Together from Travis Low on Vimeo. Subscribe to my YouTube channel: transpondency Subscribe to transpondency.blip.tv Follow me on twitter Email: suburban@transpondency.com Call my voicemail: 1 (716) 402-1462
Playliste de Carl Michael von Hausswolff pour webSYNradio : Avec des archives posThumes et anThumes de Velemir Chhlebnikov, Yoko Ono, Mick Jagger, Klaus Kinski, Whitehouse, Bob Cobbing, Charlemagne Palestine, Bengt Emil Johnson, Mario Davidovsky, William S. Burroughs, Vladimir Ussachevsky, Hugo Ball …
Hal Foster, Princeton University, looks at avant garde art with a focus on the mimetic excess found in Dada and its progeny. He recalls the Cabaret Voltaire performances of poet Hugo Ball in Zurich, 1916, as pivotal to much of what followed. Foster is introduced by Art Institute President and Director Jim Cuno. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.
Michael Mercil and students from the Department of Art Embodied Knowledge Ensemble and Volunteer Corps read selected Art Manifestos both historical and contemporary:How to write a Manifesto by Nicole Debrabandere, What is Art For? by Tom Marioni, Instructions for reading an Srt Manifesto (in public and aloud) by Paula Gaetano Adi, Karawane by Hugo Ball (1916), No Manifesto by Yvonne Rainer (1965) The Advantage of Being a Woman Artist by Guerilla Girls, Statement by the International Faction of Constructivists (1922), 15 Lines of Words on Art Statement by Ad Reinhardt, The Future of Music - Credo by John Cage (1937), Manifesto by Group BMPT, Bruce Nauman, Does Money Manipulate Art? by The Art Workers Coalition (1969).
Eröffnungs-Manifest Zürich, 14. Juli 1916 ].]]]..].]]]..]].].]]]..]].]]. Dada ist eine neue Kunstrichtung. Das kann man daran erkennen, daß bisher niemand etwas davon wußte und morgen ganz Zürich davon reden wird. Dada stammt aus dem Lexikon. Es ist furchtbar einfach. Im Französischen bedeutet's Steckenpferd. Im Deutschen heißt's Addio, steigts mir den Rücken runter. Auf Wiedersehen ein andermal! Im Rumänischen: »Ja wahrhaftig, Sie haben recht, so ist's. Jawohl, wirklich, machen wir.« Und so weiter. Ein internationales Wort. Nur ein Wort und das Wort als Bewegung. Sehr leicht zu verstehen. Es ist ganz furchtbar einfach. Wenn man eine Kunstrichtung daraus macht, muß das bedeuten, man will Komplikationen wegnehmen. Dada Psychologie, Dada Deutschland samt Indigestionen und Nebelkrämpfen, Dada Literatur, Dada Bourgeoisie, und ihr, verehrteste Dichter, die ihr immer mit Worten, aber nie das Wort selber gedichtet habt, die ihr um den nackten Punkt herumdichtet. Dada Weltkrieg und kein Ende, Dada Revolution und kein Anfang, Dada ihr Freunde und Auchdichter, allerwerteste, Manufakturisten und Evangelisten Dada Tzara, Dada Huelsenbeck, Dada m'dada, Dada m'dada Dada mhm, dada dera dada Dada Hue, Dada Tza. ].]]]..]].]].]]]..]].]]..]].]. Wie erlangt man die ewige Seligkeit? Indem man Dada sagt. Wie wird man berühmt? Indem man Dada sagt. Mit edlem Gestus und mit feinem Anstand. Bis zum Irrsinn. Bis zur Bewußtlosigkeit. Wie kann man alles Journalige, Aalige, alles Nette und Adrette, Bornierte, Vermoralisierte, Europäisierte*//.Enervierte,*//.abtun? Indem man Dada sagt. Dada ist die Weltseele, Dada ist der Clou. Dada ist die beste Lilienmilchseife der Welt. Dada Herr Rubiner, Dada Herr Krokodi. Dada Herr Anastasius Lilienstein. ].]]]].]]].].]]]..]]..]]...]]. Das heißt auf Deutsch: Die Gastfreundschaft der Schweiz ist über alles zu schätzen. Und im Ästhetischen kommt es auf die Qualität an. ].]]]..].]]]..].]]]..]].]].]]. Ich lese Verse, die nichts weniger vorhaben als: auf die konventionelle Sprache zu verzichten, ad acta zu legen. Dada Johann Fuchsgang Goethe. Dada Stendhal. Dada Dalai Lama, Buddha, Bibel und Nietzsche. Dada m'dada. Dada mhm dada da. Auf die Verbindung kommt es an, und daß sie vorher ein bißchen unterbrochen wird. Ich will keine Worte, die andere erfunden haben. Alle Worte haben andre erfunden. Ich will meinen eigenen Unfug, meinen eigenen Rhythmus und Vokale und Konsonanten dazu, die ihm entsprechen, die von mir selbst sind. Wenn diese Schwingung sieben Ellen lang ist, will ich füglich Worte dazu, die sieben Ellen lang sind. Die Worte des Herrn Schulze haben nur zweieinhalb Zentimeter. ].]]]..]].]]].]]]..]].]..]].]. Da kann man nun so recht sehen, wie die artikulierte Sprache entsteht. Ich lasse die Vokale kobolzen. Ich lasse die Laute ganz einfach fallen, etwa wie eine Katze miaut... Worte tauchen auf, Schultern von Worten, Beine, Arme, Hände von Worten. Au, oi, uh. Man soll nicht zu viel Worte aufkommen lassen. Ein Vers ist die Gelegenheit, allen Schmutz abzutun. Ich wollte die Sprache hier selber fallen lassen. Diese vermaledeite Sprache, an der Schmutz klebt, wie von Maklerhänden, die die Münzen abgegriffen haben. Das Wort will ich haben, wo es aufhört und wo es anfängt. Dada ist das Herz der Worte. ].]]]].]]]..]].]]]..]].]...]]. Jede Sache hat ihr Wort, aber das Wort ist eine Sache für sich geworden. Warum soll ich es nicht finden? Warum kann der Baum nicht »Pluplusch« heißen? und »Pluplubasch«, wenn es geregnet hat? Das Wort, das Wort, das Wort außerhalb eurer Sphäre*eurer Stickluft, dieser lächerlichen Impotenz, eurer stupenden Selbstzufriedenheit, außerhalb dieser Nachrednerschaft, eurer offensichtlichen Beschränktheit. Das Wort, meine Herren, das Wort ist eine öffentliche Angelegenheit ersten Ranges. ].]]].].]]]..]]..]]].]]]..]].. Sprecher, Klänge & Bild: Elisa Demonkí
[Show #79] We Step In The Cat Box & Abbey Road Is Everywhere! News, Crosstalk, a Cat Box segment, Viewer Mail and we tweak The Stupid Knob! News: Abbey Road Keyboards Refill Fab Four Virtual Instrument De La Mancha's Free Synth - Entropy De La Mancha's Free Effect - Thrummaschine Zoom H2 Handy Digital Recorder Sundance Channel's Live From Abbey Road Gallo Engineering's Free Guitar FX Plugin - Studio Devil BVC The Cat Box: John Phillips submits a song called Old Photographs. And a big thanks to Hugo Ball for the new Cat Box segment intro! Crosstalk: Redco Custom Cables Prince may never work in this town again! Here's the Presonus guitar micing video: Viewer Mail: Caleb Hawkins - AirWindows AU Plugins Joven Kerekes of Dublin - NPR's On The Media Podcast Tim Lee - Headphone Distribution Deon Walker - DX100 Through A Rocktron Banshee Talkbox Doug - "Stupidest things you ever heard during a session" thread on the GearSlutz forum Paul Zander - Plasma Tube: The Future Of The Lava Lamp? The Stupid Knob: Bobby Brown: Apparently rehab didn't take. Answer To Last Week's Trivia Question: Q: This band has become THE top-drawing American band in the world. In fact, only one act--the Rolling Stones--sold more tickets than they did in the preceding decade. Who is it? A: The Dave Matthews Band! A lot of good guesses this week but no right answers. Doh! See you next week! Related Tags: music recording studio home studio project studio mixing protools plugin frappr creative commons digidesign mix it like a record project studio network bob brooks unsung heroes of the music business the stupid knob lane sumner brian daste the magic closet abbey road the beatles propellerhead fab four virtual instrument ken scott de la mancha thrummaschine zoom h2 sundance channel live from abbey road Massive Attack Muse Snow Patrol Iron Maiden Richard Ashcroft Damien Rice The Kooks The Zutons Kasabian The Good The Band And The Queen Primal Scream Paul Simon The Killers Gnarlz Barkley gallo engineering studio devil 12ax7 conway twitty redco.com prince presonus mail on sunday caleb hawkins airwindows neve ssl npr on the media jay-z beyonce apple inc rocktron banshee talkbox gearslutz plasma tube bobby brown whitney houston dave mattews elvin bishop fooled around and fell in love ironoxide
News, a mic pre shoot out between the Chandler Germanium and the Studio Projects VTB 1 and fantastic Viewer Mail! News: Ugly VSTi host Zen Soundcheck Audio Releases "Janus" Virtual Bass Amp Waves Plugins Version 5.9 Is Here iZotope Releases Universal Binary and Pro Tools 7 Updates Celebrity Interview: Hugo Ball is one of our fine listeners that originally wrote in to complain about something he didn't like on the show. So, we did what comes naturally, we made friends. It turns out that Hugo has quite the project studio and a passion for recording. He also happens to own one of the mic preamps I'm considering adding to my studio as part of my continuing gear conundrum, the Chandler Germanium. But, is it worth spending over a $1,000 on a mic pre? How much better could it be than a decent lower priced unit? Well, Hugo has both so I convinced him to take a little gear trek, a mic pre shoot out for the benefit of all PSN listeners. If you'd like to talk to Hugo about doing a voiceover for your project, you can e-mail him at this address: newyorkvoiceovers@lycos.com Here are the links to the raw wav files featured in the mic pre shootout: Chandler GermaniumDistorted Guitars And Bass Vocals Studio Projects VTB1Voiceover Acoustic Guitar Tambourine Viewer Mail: Judson Voss: Dave Jackson's School Of Podcasting Get Real, The Real Estate Investing Show for the Rest of Us Douglas McDonald: Real Traps Acoustic Videos John Demetre: QuikWall For A Vocal Booth Mark Rufino: Using Sonotubes As Bass Traps Answer To Last Week's Trivia Question: Q: One night in 1968, while Gary U.S. Bonds was playing at a club in New Jersey, he thought he'd give a local kid a break and invite him up onstage to do a number. Who did that kid turn out to be? A: Bruce Springsteen! A Special Award! Adam Smith of Halifax, NS, Canada was the 100th person to put a pin in our Frappr map! We award him a complimentary copy of Guitar And Drum Trainer courtesy of Ryan Smith over at RenegadeMinds.com. Congratulations Adam! A Special Moment With Charles Dye! Download the Charles Dye Ring Tone See you next week! Tags: music recording studio home studio project studio mixing protools plugin digidesign frappr creative commons digidesign guitar and drum trainer ssl solid state logic ssl vst bruce springsteen izotope chandler germanium studio projects dave jackson realtraps ethan winer sonotube vtb1 school of podcasting
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