Podcasts about Jackson Pollock

This season's much anticipated auctions in New York have brought some records and eye-popping prices, including for works by Jackson Pollock, Constantin Brancusi and Mark Rothko, and some more middling results. Ben Luke talks to Judd Tully, who has been reporting on some of the sales for The Art Newspaper. The largest show of the art of James McNeill Whistler in Europe for more than 30 years has just opened at Tate Britain in London, and travels later in the year to the Netherlands, where it forms two shows, at the Van Gogh Museum in Amsterdam and The Mesdag Collection in The Hague. Ben takes a tour of the Tate show with its lead curator Carol Jacobi. And this episode's Work of the Week is the frieze made by Edvard Munch in 1922 for the women's canteen of the Freia Chocolate Factory in Oslo. The frieze remains in the collection of the Freia chocolate company today, but is on temporary loan to MUNCH, the museum in the Norwegian capital for the exhibition Edvard Munch and the Chocolate Factory. Our digital editor, Alexander Morrison, went to Oslo to speak to the curator of the exhibition, Ana María Bresciani, about the frieze.James McNeill Whistler, Tate Britain, London, until 27 September 2026; before splitting into two parallel presentations in the Netherlands, Whistler: Dandy and Disruptor, Van Gogh Museum, Amsterdam; Whistler: Loving The Netherlands, The Mesdag Collection, The Hague, both 16 October-10 January 2027.Edvard Munch and the Chocolate Factory, MUNCH, Oslo, until 11 October. Hosted on Acast. See acast.com/privacy for more information.

[sigh] Welcome to Brewed Awakening. May I take your order?Oh look, another "Morning Mayhem" broadcast where the hosts spent way too much time debating if cold foam belongs on a Dr. Pepper—spoiler: it's just sugar on sugar and costs $4.19. They're convinced it's "iced coffee season" now, though they seem much more nostalgic for the "right of passage" of drinking from a bacteria-laden garden hose.When they weren't obsessing over overpriced dairy toppings, they mentioned AI security flaws in the Claude model and a Jackson Pollock painting that sold for $181.2 million—because clearly, some people have more money than sense. They also suggested 4G signal is ruining fertility rates, and mentioned Elon Musk lost a lawsuit simply because he was too late to file it.The sports segment was more of the same--all Woodland teams are winning, yada yada yada. And on through a Mets scoring spree and Victor Wembanyama's 41-point game, while the actual MVP, "Shay Gil Alexander," apparently forgot how to shoot. They finished by suggesting cold foam on orange juice. Groundbreaking. Please just take your latte and move along; I have actual work to do.

Künstler und Secessionsmitglied Peter Sandbichler spricht mit Angela Stief (Direktorin der Albertina Modern), die seine Arbeit seit den frühen 2000er-Jahren intensiv begleitet und mehrfach mit ihm gearbeitet hat. Im Gespräch widmen sie sich Sandbichlers skulpturaler Praxis, die sich, wie Stief formuliert, „einer eindeutigen Kategorisierung entzieht“ und zugleich von einem tiefen Interesse an Architektur und öffentlichem Raum geprägt ist. Unter anderem spricht Sandbichler darüber, wie ihn Denken und Werk von Buckminster Fuller beeinflusst haben, sowie über sein Interesse an Kunst im öffentlichen Raum, die unmittelbare Begegnungen mit Kunst ermöglicht, große Sichtbarkeit schafft und die Chance bietet, ein sehr vielfältiges Publikum zu erreichen – verbunden mit einem Moment des Zufalls und der Unkontrollierbarkeit. Das Gespräch wurde am 22. Jänner 2026 in der Secession aufgezeichnet. Peter Sandbichler, geboren 1964 in Kufstein, lebt in Wien. Studium an der Hochschule für Angewandte Kunst in Wien bei Wander Bertoni, anschließend Bildhauerei an der Akademie der bildenden Künste Wien bei Bruno Gironcoli sowie Neue Medien an der Staatlichen Hochschule für Bildende Künste in Frankfurt am Main bei Peter Weibel. 1995 Österreichischer Pavillon auf der Biennale di Venezia. Sandbichler ist ein konzeptueller Bildhauer, der gesellschaftspolitische Themen mit grundlegenden Fragen nach der skulpturalen Ästhetik, nach Fläche, Raum und Zeit genauso wie nach Material, Form und Verfahren verknüpft. Mit unterschiedlichen Medien erzeugt er raumgreifende Objekte, Installation wie auch architektonische Interventionen im öffentlichen Raum. Dabei agiert der Künstler an der Schnittstelle von Deformation und Perfektion. Er operiert mit Strukturen, Ornamenten und Rastern, zerlegt diese und generiert neue Ordnungen. www.petersandbichler.com Angela Stief, geboren 1974 in Augsburg (D) ist Kunsthistorikerin, Kuratorin und Kulturpublizistin. Sie studierte Kunstgeschichte und Philosophie. Von 2002 bis 2013 war sie Kuratorin in der Kunsthalle Wien. 2020 übernahm sie die Gastprofessur für kuratorische Praxis an der Universität Linz. Seit 2020 arbeitet sie in der Albertina und wurde 2021 zur Direktorin der Albertina Modern und Chefkuratorin für Kunst der Gegenwart in der Albertina berufen. Sie verfasst zahlreiche Beiträge über Gegenwartskunst für Monografien, Kataloge und Magazine. Ausgewählte Ausstellungen: KAWS. Art&Comix, Franz West (2026), Jenny Saville, Brigitte Kowanz (2025), Eva Beresin, The Beauty of Diversity (2024), Katharina Grosse (2023), Ways of Freedom. Jackson Pollock bis Maria Lassnig (2022), The 80s (2021), Anna Zemánková (2020), Josef Karl Rädler (2018), Leigh Bowery (2013), POWER UP – Female Pop Art (2010), Wangechi Mutu (2008). Secession Podcast: Members ist eine Gesprächsreihe mit Mitgliedern der Secession. Das Dorotheum ist exklusiver Sponsor des Secession Podcasts. Programmiert vom Vorstand der Secession. Jingle: Hui Ye mit einem Ausschnitt aus Combat of dreams für Streichquartett und Zuspielung (2016, Christine Lavant Quartett) von Alexander J. Eberhard. Schnitt: Paul Macheck Produktion: Jeanette Pacher & Bettina Spörr

The government (barely) disclosed (very little) stuff about aliens and you'll never guess, no one is satisfied. The root cause of all of this does seem to be a government disinformation campaign that no one seems to remember why they did it for. It's pretty funny. Then, we talk about the practical death of the Voting Rights Act and the mad rush all over the South to gerrymander every state into a sloppy segregationist mess.Weekly Skews is brought to you by Fast Growing Trees. Right now, they have great deals on spring planting essentials, up to half off on select plants. And listeners to our show get TWENTY PERCENT OFF their first purchase when using the code SKEW at checkout. Visit https://www.fastgrowingtrees.com/skew and use the code SKEWThis episode is sponsored by ZBiotics. Go to https://www.zbiotics.com/SKEW now. You'll get 15% off your first order when you use SKEW at checkout

In dieser Episode von Lecker KUNST: leicht verständlich erklären wir die teuersten Kunstwerke der Welt – vom legendären Salvator Mundi von Leonardo da Vinci bis zu Meisterwerken von Jackson Pollock, Cézanne und Gauguin.

How can upgrading your verbs transform flat writing into vivid, page-turning prose? Why do so many writing problems turn out to be verb problems — and how can you fix yours? Sarah Kaufman explores the art of the verb and shares practical tips for making your writing stronger, clearer, and more alive. In the intro, writing as a caregiver and grief [Stark Reflections; The Creative Penn episode]; Beyond Bookshops — Bulk Sales, Gifting and Alternative Distribution [Self-Publishing Advice]; list of money books; London walk along SouthBank; Bones of the Deep: AI-Assisted Artisan Author webinars. Today's show is sponsored by ProWritingAid, writing and editing software that goes way beyond just grammar and typo checking. With its detailed reports on how to improve your writing and integration with writing software, ProWritingAid will help you improve your book before you send it to an editor, agent or publisher. Check it out for free or get 15% off the premium edition at www.ProWritingAid.com/joanna This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why verbs are the most versatile and underrated tool in a writer's toolkit How to replace flat, explanatory sentences with vivid, action-driven prose The power of physical and metaphorical verbs to show emotion instead of telling it When passive voice works, and when it's hiding something Balancing beautiful language with the demands of storytelling and deadlines How to broaden your writing expertise into a sustainable portfolio career You can find Sarah at SarahLKaufman.com. Transcript of the interview with Sarah Kaufman Jo: Sarah Kaufman is a Pulitzer Prize–winning critic, an award-winning author, and a writing teacher. Her latest book is Verb Your Enthusiasm: How to Master the Art of the Verb and Transform Your Writing. Welcome to the show, Sarah. Sarah: Thank you so much. I'm delighted to be with you. Jo: This is such a great topic, but first up— Tell us a bit more about you and how you got into writing. Sarah: I got into writing in a backwards way, I guess. The romantic, wonderful thing about writing is the freedom that it gives you, right? That's what we all think about—this freedom to address the world. Then the practical, wonderful thing about writing is developing a focal point, which I had to do in order to write in the first place. I'll explain a little bit about that. I became a dance critic, which is what I did at the Washington Post for 27 years, to have something to write about. That was necessary because, though I've always known that I wanted to be a writer ever since earliest childhood, I just didn't really find things to write about when it came time to actually try to make a living at it. As I was approaching leaving college as an English major, I was getting very anxious about what I was actually going to do, and I didn't have this burning desire to write about any certain thing. I happened to be working as a full-time secretary at a ballet school because I had been a ballet nerd all through my youth. I knew quite a bit about doing ballet, about the steps and about the lingo, so I was a suitable candidate to work at a ballet school. I was learning so much from the teachers there—who had all been professional dancers—about the aesthetics of ballet and how you shape the steps into art and into a performance. I was getting more and more interested in dance. One day the director took me out to lunch and she said, “You should write about dance.” I had seriously never considered that before, but she knew that I was an English major, that I wanted to write. She said, “Look, you know so much,” and she really encouraged me. So I said, “Well, okay, I'll give it a go,” because I had been reading dance criticism. I just started picking it apart and seeing how critics put their reviews together, called up a local paper, took on some freelance assignments, and did a lot of freelancing for years and eventually landed at the Washington Post. So the point I want to make is that I had that thing to write about. Now I had a focal point, and my books grew out of that. The first book I wrote is The Art of Grace: On Moving Well Through Life. That was an exploration of aspects of grace stemming from physical grace, which I knew about from dancers, and looking at connections there with social grace and spiritual grace. Then this verbs book likewise grew out of my work as a dance writer because my goal in writing about dance was to capture the experience of it. I didn't want to be a scholarly type of critic, though I do love that kind of criticism and I read it and learn so much from it, but I knew that was not going to be my style. I wanted more to primarily recreate the experience for the reader, as well as then coming in with analysis of it. I was just so fascinated by the look and the feel of what I was seeing on the stage. I wanted to be able to share that with the reader. So I had to lean on verbs to capture the action, and people occasionally would say, “Oh, you're so good with verbs, Sarah,” which I thought was kind of interesting. It's like, oh, so this is a strength I had developed. I didn't really realise it. Then that, coupled with my teaching experience, is what led me to think I have some things to talk about regarding verbs. I'd like to share with the world because, as a teacher, I often see that writing issues my students have are actually verb issues. They get into a corner with a lot of explanation or clauses on top of clauses, and they get lost. Where is the point that you want to make here? What is the meaning? What is it you want me to take away from your work? Well, if we pare that back and look at the verbs and try to get some direction in the sentences, that often brings clarity. Suddenly the student will say, “I was thinking more about adjectives and nouns. I didn't realise that verbs were really something to focus on.” I thought that would be an interesting challenge to bring that out. Jo: It's so fascinating. I love how your career has emerged and that you've leaned into different things. It has a kind of dance to it itself. We're going to come back to your career, but let's start with that, because you mentioned that with many of your students you are reading their work and you think, “Oh, we can fix this with some verbs.” Let's get into that because you talk about weeding and this verb-first editing process. Most of the listeners will have some kind of writing already—either they've got a lot of books or they've got a draft in progress. This is the kind of thing we struggle with: how do we make our work stronger? Talk about why you are so obsessed with verbs some tips for making our work stronger. Sarah: Yes, I am obsessed with verbs. I will cop to that. They're so interesting and I felt like they were a little underrated as a writing tool. Verbs, as we learned in school, drive your sentence forward. They're the engine. Really, I feel like they are the secret soul of language, because they're so versatile, they're so essential. First of all, they hold it all together. They're the only part of speech that in itself is a full sentence. You can have a full sentence that's a verb. “Watch.” “Look.” “Continue.” You could go on and on. That is a full grammatical sentence. You can't do that with any other part of speech. They're so essential. The word “verb” itself comes from the Latin verbum, which means “a word.” So verbs became that name for all words. Our literary ancestors understood this—that they're really the beginning and the end as far as words go. They can add to your work when you start thinking about verbs in this way, and you start thinking about how can I elevate my writing—well, verbs are very efficient and very evocative. They can add not only clarity to your work, but a kind of elegance. They can say so much in such a little amount of space. For example, say you have something like this: “The cook was facing the dinner rush, and so she decided to put together something quick and easy so no one would know how nervous and unprepared she was.” In that sentence, I'm doing a lot of explaining and describing. I'm just explaining to you the situation, but I haven't really brought it to life much. A better way to do it might be something like this—and you can see it comes a little bit more active: “The dinner rush pressed upon her. To hide her nerves, she whisked eggs and milk into omelettes, shredded parsley with her bare hands and flung it all onto plates like Jackson Pollock splashing his canvas.” I show you what her nerves and the pressure resulted in. I show that manifesting. Or you could even shorten it and just say: “Dinner rush loomed. She whisked and whipped, chopped and dripped and masked her nerves with glistening omelettes.” There are stylistic differences there, but it's just to give an example of how you can take something that, on the face of it, sure, it makes sense—it's perfectly fine as a sentence—but it just lies there. It's flat. Maybe it's not very exciting. It doesn't really move the story forward. You can bring it to life by showing us. You show us with the action. Jo: You haven't really specifically said what a verb is in that sentence you just had around “whisked” and all of those things. Those sentences were actually quite different in a lot of the different words you used. You didn't just swap out for stronger verbs. Could you just point out what the verbs were, in case people are confused about which words are which? Sarah: Right. Great. In the first, inferior example I have: “The cook was facing the dinner rush.” So then I amended it to: “The dinner rush pressed upon her.” I'm giving the dinner rush itself a verb—”press.” It weighed on her, it pressed on her. Also, in the third example—”the dinner rush loomed”—so that's even shorter. “Loom” is a wonderful verb. I love it because it conveys a sense of threat. That's what I mean by verbs being so efficient and evocative in one word. “A storm loomed.” “The dinner rush loomed.” You convey the emotion around the whole event. “To hide her nerves, she whisked eggs and milk into omelettes, shredded parsley.” So “hide”—she's hiding her nerves rather than just saying she felt nervous. You give it a little bit more action, you give her a little bit more character by saying she's doing this to hide her nerves. Then whisking the eggs, shredding the parsley, flinging it onto plates—that shows how she's being creative and surmounting this problem, right? Instead of simply describing—”So she decided to use her expertise and create a nice dinner”—you show that in motion with things like whisking and shredding and flinging it onto plates. That's an example of how you can slide in upgraded verbs to lend a sense of energy and life. Jo: I think this idea of motion is so great, and you tie this in a lot to your work. You've written a lot about physical action, and in the book there is a chapter on physical action. I think this is so important because many authors will say, “Use the word ‘said'” without thinking about dialogue within a pattern of action. Your chef there could say something as she flung the parsley on the plate, rather than “the chef said this.” Get moving as she flung the stuff onto the plate. The action verbs are so important. Could you talk a bit more about [action verbs] and the physical action side of it? Sarah: Yes, and that's so right. When you have a scene really rolling, you don't need to do so much explaining about the way a person says something with those dialogue tags. It's very interesting. I feel like words are alive—they're living, breathing things—and the more that we let them come to life on the page, the more you can draw your reader into the story. The reader gets a sense of that life and wants to come into the story with you. You've really created a scene that your reader feels immersed in. And that's so exciting as a reader to discover. Writing about movement is part of that. Of course writing is very vast—it's hard to say, “Well, you should always write about movement.” That would be silly. If we think about movement and action and action verbs as being effective not only for the actions that we see around us, but for inner actions—the subtle feelings, thinking, non-action, but internally what's going on—that's also space for effective verbs. For churning emotions, for metaphors about fright and what that feels like in the body. Or despair. Or regret. I have a lot of examples of that in the book. It's another beautiful use of verbs where, instead of explaining what someone is feeling, you can show it through metaphorical verbs and actual physical changes—things roiling inside the body. Jo: For example, someone in their draft has “she was afraid”— How could they make that much stronger and use a lot of those things you were just talking about? Sarah: That's an excellent question. Instead of “she was afraid,” you might say something like: “She felt her chest fill with ice, freezing her lungs and choking her breath, and her heart bashed around as if to tear itself from her body.” We could get very dramatic about it, but you can play with that. What I like to encourage readers to do is open their minds and open their imaginations. When you have a pretty standard phrase like “she was afraid” or “she felt too frightened to move”—well, put yourself in that position. What does that feel like? What does that really feel like inside when you're too frightened to move? Is it an icy feeling or is it a burning? Is it a numbness? And what verbs might help with that? Is it thrashing? Is it raging? Is it paralysing? How can that type of expressiveness fill in the picture and make it palpable to the reader—what it's like to be in the room with this person? Jo: Do you recommend using a thesaurus? I try to do this myself, and I often use Power Thesaurus, which I just find so useful, because as writers, when we are writing novels or books in a similar genre, we often reach for the same words. Are you a big thesaurus user? Sarah: I am a huge thesaurus user. I have a stack of actual book-type thesauri, but I do like, as you mentioned, Power Thesaurus. I like OneLook, which is an interesting resource. I think it's OneLook.com and you can go in the other way—you can use it as a thesaurus, but you can also use it to find one verb that combines a couple of words. Like “walk clumsily,” for example. You could put that into OneLook and it would come up with lists and lists. And among them might be “hobble” and “limp” and other words to say what a weak verb plus an adverb can say. Online resources are wonderful. I like Merriam-Webster.com—that's what I rely on a lot. Cambridge too. A thesaurus is wonderful. Now, the caution with the thesaurus, however, is that I would like to urge people to be mindful about just swapping in one word for another, or one verb for another, because even though they may appear in the same groupings, there are going to be subtle differences among them. I find it fascinating to really investigate the subtle difference between, say, “limp” and “hobble” and “stumble.” Those all mean slightly different things. So the finishing tip is just to make sure the word you choose is going to be right for the context. Jo: And also perhaps the audience. I mean, you are a Pulitzer Prize–winning critic, which is amazing, and you were writing for an audience who wanted dance pieces. The audience for dancing in terms of the words you would use—I'm not really into it myself, but I would know the word “pirouette.” I imagine there's a ton of words that you would know and use in your writing that wouldn't be so relevant for a wider audience. So we have to think about the audience as well. Sarah: Yes, absolutely. We want to be very thoughtful in our choice of words. If you distilled my book down to one single message, it is to think carefully. Not in the first draft, perhaps, and certainly not when we're speaking, because we speak so spontaneously. But in writing, where you put your thoughts down and then—hopefully, if you're not under too much deadline pressure—you can come back, give it another look, shape it, refine it, and really make sure that you've chosen your words with care. I feel like that's really what writing is all about—communicating one mind to another through this magnificent medium of language. Language is intentional, and having that intention in mind about what you want to share and what you want to communicate and how you want your readers to approach your work—well, that's up to you. That's the freedom I hope to be able to present to people who check out my book: here are some ways, here are some suggestions, here are some techniques and tips for issues that can arise. Really, once you've taken these in, I hope to fire your imagination and inspire you with being able to communicate what it is that you really have inside that you want to share. Jo: I think it is a book for falling in love with the joy of words again. You did mention deadlines, though, and the pressure. Especially for those of us who write genre fiction series, which is a lot of people listening, sometimes we might feel that we don't have the time for that. Do our readers appreciate it, or do they want story first? Sometimes is it too much? Where do you come down on balancing getting story over words? How long can we spend on finding beautiful words when we are writing another 70,000-word book? Sarah: I think that's an excellent point. I think story comes first. That's probably what first drives you to your desk—telling a story. Although it may not. The realities of writing are so vast and unlimited that it's very hard to come out with rules, and I don't write about rules. I really want to give suggestions and examples and insights, but I do think that story is absolutely tops. And that's the power of verbs, in fact. They can help us tell the stories with clarity and with efficiency. I do want to make sure that I'm being clear. I'm not advocating that before you ever sit down and write, or you write one sentence, you then go back and check every single word, because that wouldn't make any sense at all. The idea is to free yourself, free your imagination. These are ways to open your imagination up that maybe you haven't thought about before. But storytelling is primary, and the way that you tell it is going to be individual to every writer. It's useful to bear in mind that there are a lot of avenues one can take in terms of creating a scene or building a character and even evoking the landscape and the atmosphere, and we can look at verbs to help us do that. Jo: One of the biggest problems, I think, especially for new writers, is the passive voice versus more active voice. Can you give some examples of passive voice? Often in editing we're told to get rid of passive voice, but of course you do need it sometimes. Sarah: Yes. There's understandably a lot of confusion about passive voice. Just to have a tiny tidbit of grammar nerdery here: the voice of a verb refers to a very specific construction. It doesn't simply mean that the writer is expressing something in a boring way or taking on a dull subject. The voice of the verb tells you how it relates to the subject of the sentence. When the subject does the action—when it's doing the verb—then you have a verb in the active voice. But when the subject of the sentence is receiving the action, then it needs a verb in the passive voice. Here's an example. If I said, “Hey, Jo, guess what? My grandmother walked on the moon.” That's active voice. “My grandmother walked on the moon”—it's interesting, right? But if I said, “Hey, Jo, guess what? The moon was walked on.” You might be left thinking, “What? What am I supposed to take away from that? Is there more to the story?” “The moon was walked on”—well, that's the passive voice construction. There's no subject who did the walking. I haven't told you, and yet the subject was actually pretty important. My grandmother was the one who walked on the moon. So that's the frustration that often comes when we read the passive voice. We don't know the full story, and we might suspect: are they hiding something? Do they not really know who did the thing? It brings up a lot of questions. Especially in official situations. The classic example is “mistakes were made.” Officials love to say that because it puts nobody on the hook. Nobody is responsible. “Mistakes were made.” Well, who were they made by? They're not telling us. I heard this just recently, by one of the representatives here. This phrase is still being used: “Mistakes were made.” I think most people understand there's a bit of obfuscation. There is something being hidden. Now, there are times when the passive voice is perfectly fine. It's not necessary to say who did the action. If you say, “Joe Blow was arrested and charged with murder,” you pretty much have the full thing there. You don't need to say, “The police arrested him. The prosecutor filed the paperwork.” It's kind of assumed. If you just want to get to the point—he was arrested and charged with murder—that's sufficient. Maybe further down in the story you'll explain the circumstances, but you don't need them right there. Or say, “Fires are still being reported throughout the region.” In a news story, that's perfectly fine. We just need to know that fires are still happening. We don't necessarily need to know who's reporting it. More details may come later in the story, but right then it's perfectly fine. In news reports, in historical situations when we're giving a history, in scientific data and scientific reports, you often see the passive voice. It can be a perfectly good and oftentimes even more efficient way to tell something, but you don't want to lean into it and overuse it because it becomes very dull. When you don't have someone doing an action, it becomes very dull. Jo: As you've mentioned the legal side of things, and I'm reading a lot of academic papers at the moment. I'm doing another master's degree, and goodness me, I feel like sometimes it's designed to turn you off. Sarah: You are exactly right. I've come to that feeling too, and especially in seeing student work, where I feel like there is so much of that in academic writing, which students are reading and digesting. It naturally comes out of them, and it's a kind of cycle that's hard to break. Jo: Do you think it's a form of hedging? “Mistakes were made”—or anything legal—you are hedging it so it can be ambiguous. Whereas a strong verb—and you mentioned “your grandmother walked on the moon”—you are really making it very clear. If you want to hedge things, then using passive voice might be more appropriate. If you want to make it stronger, the activeness is important. Sarah: Yes. And it makes such a difference. I discovered this in my own work. I would read other critics, for example, and I would think, “I feel like the piece I've just written is kind of flat. It doesn't really have the effect I want, doesn't have any zip.” I would go and read other critics—not just dance critics, but other critics. It's so useful to just read other people in any type of writing that you're doing. I advocate doing a lot of reading. I would see that the pieces that really touched me, that really inspired me, had a lot of active voice constructions. They're not turning things around passively, which I think, as a young critic, I may have been doing because I was a little bit afraid to take a stand. Jo: Mm. Sarah: I think I see that in student work, that sometimes we don't want to take a stand, and so we hedge. But writing is intentional, and readers can pick up on that hedging. If you don't intend to hedge—in many cases it can be perfectly appropriate to be fuzzy for an effect that you want, or something like that in the context—but if you are hedging and you're trying to get away with it, like you don't want anyone to notice that you don't really want to give an opinion on this matter, it's going to be very clear. So it's better to address something directly. Jo: And make it stronger. I also wanted to ask you more about the writing career, because I, perhaps like many people listening, was like, I didn't even know you could make a career as a dance critic. Now I know you are not at the Washington Post any more, and it's possible that that role no longer exists—like a lot of writing roles. How has your writing career changed over the years? Do you have these various aspects of a portfolio career? We often talk about multiple streams of income on this show and how, as writers, we can't necessarily rely on one thing. Sarah: Yes, exactly. It's true, there is no longer a dance critic at the Washington Post. The position was eliminated. It's a shame, and it's happening to critics in all fields, in all media organisations, sadly. That's where, for me at least, having that focal point was very key. A thing that I became comfortable writing about, that I could then spiral out and use the eyes and the brain that I had developed from writing about this certain focus for a while. Where can I take that? Oh, athletes. They also move. I began writing stories and pieces and essays about athletes that moved beautifully, beyond racking up statistics about winning. They were just gorgeous to look at, just so pleasurable to watch. I started writing about the body language of political candidates in debate situations and so forth. Using my focal point to then widen my lens, to mix a metaphor, I guess. Having that subject matter and then broadening it out beyond the limits of the actual subject matter, broadening it out imaginatively into where I could find other places to use this perspective. That was really key for me. Say you are writing historical fiction or you're writing thrillers. I would imagine that you would develop a kind of expertise in things that I would find very difficult. Suspense, maybe, or political or police procedure, or what exactly was the weaponry in seventeenth-century France. How can you take that expertise and use it either in an aesthetic way or an actual factual way to address other topics? I think there are so many people that would be interested in what writers who have knowledge and expertise in anything can then use to show us something that we've overlooked. Something we always thought we knew, but that really, when you look at it this way, is reminiscent of how the scabbard was used in seventeenth-century France—or whatever it is, in whatever way. People are craving a new perspective on something they've overlooked or taken for granted. And that's where writers who have a body of work, or are interested in pursuing a certain topic. That's the promise that they have. They can work towards being able to enlighten us on so many other things that maybe only have a tangential connection, but they can make that connection for us. Jo: Fantastic. Where can people find you and your books online? Sarah: I am at SarahLKaufman.com. That's my website. My books are available on any website or bookshop that you want to order them from. Verb Your Enthusiasm comes out April 28th. I am not much on social media at the moment, but I do enjoy hearing feedback from readers, and there are ways to do that on my website. Jo: Well, thanks so much for your time, Sarah. That was great. Sarah: Thank you very much. I've enjoyed it.The post Verb Your Enthusiasm: Transform Your Writing With Stronger Verbs With Sarah Kaufman first appeared on The Creative Penn.

durée : 00:29:55 - Les Nuits de France Culture - par : Albane Penaranda - réalisation : Mathias Le Gargasson, Antoine Dhulster, Rafik Zénine, Vincent Abouchar, Emily Vallat, Hassane M'Béchour, INA Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Everybody loves a good story, especially when it involves a little chaos and a lot of laughter! In this episode, Eric G and John Dudley dive into the wild world of home improvement disasters, sharing their most memorable blunders and the lessons learned along the way. From stormy weather wreaking havoc on carports to unexpected paint spills that could rival a Jackson Pollock, the duo reflects on how even the best-laid plans can go awry. They recount the heart-stopping moment when a gust of wind sent one of Eric's carports skyward, leading to a near miss with electrical lines. John chimes in with his own tales of woe, including a ladder incident that turned into an impromptu flight experience, and together they explore the relatable reality of DIY projects gone wrong. As they navigate through their tales of mishaps, the podcast becomes a celebration of imperfection. Eric and John emphasize the importance of embracing mistakes as part of the home improvement journey. After all, who hasn't had a moment where they thought, “How did I get myself into this mess?” The camaraderie between them shines through as they joke about their experiences, poking fun at their past selves while also offering valuable tips for listeners to avoid similar pitfalls. Whether they're sharing cringe-worthy moments or hard-earned wisdom, there's a constant thread of humor and humility that makes this episode both entertaining and enlightening. So grab a seat and get ready to laugh at the ups and downs of home projects with this dynamic duo! The heart of this episode lies in the idea that home improvement is as much about the journey as it is about the destination. Eric and John remind us that every mistake is an opportunity to learn, and sometimes, those learning experiences make the best stories. With a mix of wit and wisdom, they encourage listeners to take on their projects with a sense of adventure—after all, it's all part of the fun! So, whether you're a seasoned DIYer or just starting out, tune in to hear their tales of triumph and disaster. It's a rollercoaster ride full of laughter, lessons, and maybe a few groans, but most importantly, it's a reminder that even the biggest blunders can lead to the best memories!Takeaways:Eric G and John Dudley share hilarious tales of DIY disasters that remind us all to double-check our plans before diving into home renovations.Sometimes, even the best-laid plans can go sideways, and luck plays a bigger role in home improvement than we'd like to admit.From spilled stains to flying carports, the guys reflect on the importance of safety and proper preparation in home projects.The episode serves as a reminder that home improvement is a journey filled with learning experiences, often born from our biggest mistakes.In a twist of fate, bad luck can lead to unexpected outcomes, like the time a carport became a projectile during a windstorm.The podcast highlights that even seasoned professionals like Eric and John have had their fair share of mishaps, making them relatable to every DIY enthusiast.Links referenced in this episode:aroundthehouseonline.comredwingshoes.comfacebook.com/aroundthehouseCompanies mentioned in this episode:Red WingEagle HardwareLowe'sCostcoWalmartHome DepotThanks for listening to Around the house if you want to hear more please subscribe so you get notified of the latest episode as it posts at https://around-the-house-with-e.captivate.fm/listenIf you want to join the Around the House Insider for access to the back catalog, Exclusive Content and a direct email to Eric G and access to the show early https://around-the-house-with-e.captivate.fm/support We love comments and we would love reviews on how this information has helped you on your house! Thanks for listening! For more information about the show head to https://aroundthehouseonline.com/Information given on the Around the House Show should not be considered construction or design advice for your specific project, nor is it intended to replace consulting at your home or jobsite by a building professional. The views and opinions expressed by those interviewed on the podcast are those of the guests and do not necessarily reflect the views and opinions of the Around the House Show.Mentioned in this episode:ROCK THE LOCKSThree full days of killer live rock with over 25 bands on two stages, camping, food, beer gardens, and riverfront vibes the whole family will love. And here's the best part — you can hang out with Eric G from Around the House! Tickets are on sale NOW at Rockthelocks.org. That's Rockthelocks.org.Rock the Locks InstaBid: Stop losing jobs to slow estimates Turn 3 hours of manual estimating into 5 minutes. Real material prices. Real labor rates. Professional PDF quotes delivered instantly. Try it free at instabid.pro. Use code ATH50 for 50% off your first month. That's instabid.pro — code ATH50InstabidInstaBid: Stop losing jobs to slow estimates Turn 3 hours of manual estimating into 5 minutes. Real material prices. Real labor rates. Professional PDF quotes delivered instantly. Try it free at instabid.pro. Use code ATH50 for 50% off your first month. That's instabid.pro — code ATH50InstabidCheck out our New YouTube channel @AroundtheHouse HQ Make sure you subscribe and RING THE BELL for our brand new channel with 4k content! Click the link to take you there! YouTube Around the House HQSubscribe to the podcast Make sure and Subscribe on your favorite podcast player or the link below! Podcast Subscribe 2026SiteHype Designs Visit SiteHype Designs and lets build a website that works as hard as you do! Use Promo Code "Eric G" for your free website audit and 30 minute consultation. Site Hype Designs Subscribe to the podcast Make sure and Subscribe on your favorite podcast player or the link below! Podcast Subscribe 2026

Writer and director John Morton, one of the team behind 2012 and W1A, on the new comedy Twenty Twenty Six, set in the run up to this year's football World Cup.Artist Lachlan Goudie's new book The Secrets of Painting explores the creative big bangs in art over the centuries which have given us artistic movements - from Giotto and Rembrandt's use of oil paint to Berthe Morisot's use of an outdoor easel and Jackson Pollock's use of materials intended for industrial use, Goudie tells us how he has undergone a series of experiments to inform his understanding of pioneering techniques. A new gig theatre production at The Mac in Belfast honours the Women's Coalition in Northern Ireland whose activism was an important force behind the 1998 Good Friday Agreement. Writer Vittoria Cafolla joins us to tell us their story. And as we go on air, the winners of this year's Windham-Campbell Awards for writing are announced. Each recipient receives $175,000, and we'll hear from one of the winners, as well as the Director who heads up the judging panel. Presenter: Kirsty Wark Producer: Mark Crossan

Raphaël Julliard | Anthropology of the Creative Process | Laboratoire d'Anthropologie Sociale, Ehess, Paris, France  "The Creative Engine and the Sense of Rightness"  My research operates at the intersection of anthropology, the psychology of creativity, and micro-phenomenology. It is driven by a central question: in the uncertainty of the creative act, how do creators know when it works? While traditional approaches often rely on retrospective reconstruction, my work focuses on the "creative engine": the real-time feedback loop between Action (what the maker does) and Affect (how the emerging form acts back upon the maker). I posit that creativity is not a cognitive planning process, but a navigational skill steered by a pre-reflective affective criterion—a felt sense of fitness we conceptualize as "Rightness"—guiding the artist between the risks. To study this, I have moved from historical analysis to experimental ethnography, developing a novel methodology—The Researcher-As-Obstacle (RAO)—designed to investigate the creative mind in action. My goal is to establish a rigorous anthropology of this navigational competence, specifically addressing how subjects maintain agency and a path toward Rightness within the flow of creation.  Links to referenced texts: Julliard, R. (2025). Action and affect: Ritual dynamics in Jackson Pollock's creative process. Journal of Material Culture, 30(2), 171-190. → https://osf.io/preprints/socarxiv/xpbcw_v1 Julliard, R., Roy, D., & Botella, M. (2026).  The Researcher-As-Obstacle: A methodology for the study of creativity while it happens. Qualitative Research, 26(1), 3-22. → https://doi.org/10.31234/osf.io/shnax_v3  “The Feeling of Life”: Creative Dynamics Captured in Real Time → https://osf.io/preprints/socarxiv/92fxy_v1 If you would like to become an AFFILIATE of the Center, please let us know.Subscribe to our YouTube channel to get updates on our latest videos.Follow along with us on Instagram | Facebook NOTE: The views and opinions expressed by the speaker do not necessarily reflect those held by the Center for Mind, Brain, and Culture or Emory University.

Max Ernst erfindet sich und die Kunst ständig neu: Er bringt Dada nach Köln, begründet den Surrealismus mit und inspiriert Action Painting. Von Christopher Heimer.

He thought it was just a fart, went to bed feeling “fine,” and woke up asking one question nobody wants to ask: why am I wet? That's where our Sober Sunday starts, and somehow it only gets more unhinged from there. With clear heads and no bourbon, we still manage to hit peak Take It Deep Show chaos: tech meltdowns, brutal honesty, and the kind of story you can't unknow once you hear it.We also start building a new segment we actually want you to see: TID Idol, our karaoke competition idea with a guest challenger, a bucket of songs, genre picks, and the debate over whether anyone should know what they're about to sing. We talk practical setup too: microphones, camera angles, staging, and yes, the very real temptation to turn it into a full costume spectacle.Then we zoom out into the bigger stuff that's clogging everyone's feed and brain lately. We get into Afroman's lawsuit saga and the free speech angle, riff on politics and war clips, and vent about the cost of living, gas prices, and why everything feels harder than it should. If you've been doomscrolling, you'll recognize the spiral: airports, conspiracy chatter, solar storms, earthquakes, asteroids, and even how fentanyl changed the risk of “party” drugs for good.Subscribe, share this with a friend who needs a laugh, and leave a review so more people can find the show. What karaoke song should be in our TID Idol bucket?Support the showhttps://www.thetakeitdeepshow.com

Learn more at TheCityLife.org

"Necesitamos usar la mirada del poeta cuando paseamos por un museo". Esta frase de la gran Estrella de Diego sobrevuela todo este episodio que combina una merienda con Maruja Mallo en Galerías Preciados, la llegada súbita del feminismo a las aulas de Historia del Arte y varias referencias a Jacques Lacan.Doctora en Historia del Arte, miembro del Real Patronato del Museo del Prado, académica de número de la Real Academia de Bellas Artes de San Fernando, Medalla de Oro al Mérito en las Bellas Artes, pionera en los estudios de género en España (¡El andrógino sexuado!), comisaria de exposiciones como la reciente “Warhol, Pollock y otros espacios americanos” (Museo Thyssen, 2025)... Estrella de Diego es uno de nuestros mayores referentes: desde la academia pelea por multiplicar las miradas, trabaja para ofrecer una versión más diversa y enriquecedora de la historia del arte haciéndose preguntas y proponiendo respuestas que nos incluyen y nos apelan a todas.En este episodio grabado en directo en el Teatro del Barrio, en Madrid, charlamos con ella sobre la trascendencia de la mirada para acercarnos al arte, sobre el comercial y atormentado Andy Warhol (al hilo de la reciente reedición en Anagrama de su ensayo "Tristísimo Warhol: Cadillacs, piscinas y otros síndromes modernos"); sobre su referente, el pintor del subconsciente, Jackson Pollock; sobre la fabulosa pintora española Maruja Mallo (solitaria... pero no mucho), de la que Estrella fue amiga y a quien el Museo Reina Sofía dedica su exposición "Maruja Mallo. Máscara y compás"; sobre el ¿autoblanqueamiento? de Juan de Pareja y muchos otros temas que van surgiendo según avanzamos hasta ese final en el que Estrella señala que la sociedad debería querer mirar y conocer en lugar de reconocer y nos invita, una vez más, a ir de cruising al Museo del Prado.Nos emocionamos, nos reímos (mucho) y aprendemos bien arropados por un pocote de compacters en el episodio de nuestros sueños. ¡Disfrutadlo y compartidlo! Gracias, Estrella.

Un monólogo con sello propio que mezcla ironía, cultura pop y referencias artísticas para reírse de Jackson Pollock, Picasso, Dalí, Goya y de casi todo lo que se ponga por delante. Humor absurdo, ritmo ágil y reflexión camuflada entre carcajadas.

Decades after a brazen art theft drove Merry White's father to despair, federal agents closed in on the missing work. For White, the search is personal.Read more:Merry White is the daughter of a Harvard professor who was close friends with painter Jackson Pollock. White's parents came to own several of the painter's artworks, and one hung over White's bed when she was a child. It was stolen in 1973, along with two other paintings by Pollock. The theft destroyed White's father's peace of mind, and left White with complicated feelings.On this weekend episode of “Post Reports,” art critic Sebastian Smee reconstructs the provenance and theft of these precious works of art. Audio production and original music by Bishop Sand, with help from Sean Carter.Subscribe to The Washington Post here.

In the mid-'90s, two high-end New York art galleries began selling one fake painting after another – works in the style of Jackson Pollock, Andy Warhol, Mark Rothko and others. It was the largest art fraud in modern U.S. history, totaling more than $80 million. Our first story looks at how it happened and why almost no one ever was punished by authorities. Our second story revisits an investigation into a painting looted by the Nazis during World War II. More than half a century later, a journalist helped track it down through the Panama Papers. This is an update of an episode that originally aired in January 2020.  Support Reveal's journalism at Revealnews.org/donatenow Subscribe to our weekly newsletter to get the scoop on new episodes at Revealnews.org/weekly Connect with us onBluesky, Facebook and Instagram Learn about your ad choices: dovetail.prx.org/ad-choices

Giuseppe Castellano talks to illustrator, caricaturist, journalist, author, educator, lecturer, and political commentator, Steve Brodner, about the alchemy of illustration; what he looks for in a portrait; who illustrators should really listen to; and more.To learn more about Steve, visit stevebrodner.com.Artists mentioned in this episode include: Peter Kuper, Andrea Arroyo, Brad Holland, Greg Manchess, Yuko Shimizu, Anita Kunz, Herb Block, Al Hirschfeld, Jean-Jacques Sempé, Garry Trudeau, Milton Caniff, Jackson Pollock, Thomas Hart Benton, Camille Pissarro, Paul Cézanne, Guy Billout, James McMullan, Ed Sorel, Gérard DuBois, Victor Juhasz, Joe Ciardiello, Alison Bechdel, Marjane Satrapi, Keith Knight, Mort Drucker, Jack Davis, Richard Williams, Howard Pyle, N.C. Wyeth, Thomas Nast If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On this episode we dive into several offerings by Lyre's Non-Alcoholic while chatting about throwbacks, October of 2019, drunk raccoons, sleeping on a nice cool tile floor, Australian Lyres, no expectations and a healthy does of curiosity, American Malt, Australians saying No,  the highest of hopes, Karo syrup with lemon, left foot in the air and big toe up, revenge of the glucosides, London Dry, mixing up old fashioneds and G&Ts, spitting in your face while chewing juicy fruit, pinkies out, caught myself in a prosecco tasting once, caramel candies in an ash tray tastes like the 80s, and summer pool water.  Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #324

Pour commencer, nous aborderons un sujet sérieux. Les dépenses militaires des pays européens ont augmenté. Combien de temps reste-t-il à l'UE pour se préparer à une éventuelle agression de la Russie ? Nous enchaînerons avec une discussion sur le projet de l'Union européenne d'assouplir les règles en matière de subventions publiques pour promouvoir le logement social. Comment l'UE compte-t-elle y parvenir ? Dans notre section scientifique, nous parlerons d'une étude qui a conclu que les enfants arrivent beaucoup mieux que les adultes à imiter les peintures de l'expressionniste abstrait Jackson Pollock. Et pour conclure la première partie de l'émission, nous parlerons d'un nouveau « crime du siècle » : 90 000 euros d'escargots ont été volés à un éleveur français.   Le reste de l'émission d'aujourd'hui sera consacré à la langue et à la culture françaises. Notre point de grammaire de la semaine sera : Les adjectifs se terminant par -et, -ot, -s, -x, -f et -eur. Nous nous intéresserons au couple célèbre de pandas du zoo de Beauval qui viennent de quitter la France pour retourner en Chine et nous verrons pourquoi ces animaux sont de véritables stars. Nous terminerons avec l'expression de la semaine, Faire / Dire des messes basses. Nous parlerons de l'annulation de la 53e édition du festival de bande dessinée d'Angoulême, le plus grand au monde, qui devait se tenir en janvier. - Face à la menace russe, l'Europe augmente considérablement ses dépenses militaires - L'UE lutte contre la crise du logement en assouplissant les règles et en proposant un soutien financier - La critique de l'art moderne qu'on entend le plus couramment est-elle fondée ? - Un éleveur français se fait voler pour 90 000 euros d'escargots - Les pandas du zoo de Beauval retournent en Chine - Annulation de la prochaine édition du festival de bande dessinée d'Angoulême

Inizieremo da una notizia piuttosto seria. La spesa militare dei Paesi europei è aumentata. Quanto tempo resta all'UE per prepararsi a una potenziale aggressione da parte della Russia? Proseguiremo con una discussione sui piani dell'UE per allentare le rigide norme sugli aiuti di Stato, con l'obiettivo di favorire l'edilizia abitativa a prezzi accessibili. Cosa intende fare l'UE per raggiungere questo obiettivo? Nel nostro segmento scientifico parleremo di uno studio secondo cui i bambini riescono a imitare i dipinti dell'espressionista astratto Jackson Pollock molto meglio degli adulti. E per concludere la prima parte della puntata, parleremo dell'ennesimo "colpo del secolo": il furto di escargot per un valore di 90.000 euro ai danni di un allevatore francese.   La seconda parte della puntata è dedicata alla lingua e alla cultura italiana. L'argomento grammaticale di oggi è Simple Adverbs. Ne troverete diversi esempi nel dialogo dedicato alla memoria di una figura scomparsa di recente e che ha segnato profondamente la storia della musica italiana: Ornella Vanoni. Nel finale ci soffermeremo sull'espressione idiomatica di oggi: Tastare il terreno . Il dialogo in cui la useremo racconta il successo della nazionale maschile alla Coppa Davis, il torneo più importante al mondo per le squadre maschili. Una vittoria che arriva dopo quelle degli ultimi due anni e che scrive un capitolo significativo nella storia di questo sport. - Di fronte all'aggressione russa, l'Europa aumenta drasticamente la sua spesa militare - L'UE affronta la crisi abitativa allentando le regole e offrendo nuovi aiuti finanziari - La critica più banale all'arte moderna ha un fondo di verità? - Ladri derubano un allevatore francese di escargot per un valore di 90.000 euro - Addio a Ornella Vanoni, la voce che ha segnato la musica italiana - Tennis, l'Italia riscrive la storia della Coppa Davis

La primera parte del programa la comenzaremos con una noticia seria. El gasto militar de los países europeos ha aumentado. ¿Cuánto tiempo le queda a la UE para prepararse para un potencial ataque de Rusia? Continuaremos discutiendo los planes de la UE para flexibilizar las estrictas normas que regulan la ayuda a los países miembro, con el objetivo de impulsar la oferta de vivienda asequible. ¿Cómo planea lograrlo la UE? En la sección de ciencia, hablaremos de un estudio que asegura que los niños pueden imitar los cuadros del pintor expresionista Jackson Pollock mucho mejor que los adultos. Y, para concluir la primera parte del programa de hoy, hablaremos de otro "crímen del siglo": el robo de caracoles por valor de 90.000 euros a un granjero francés. El resto del episodio de hoy lo dedicaremos a la lengua y la cultura españolas. La primera conversación incluirá ejemplos del tema de gramática de la semana, el tiempo verbal Present Perfect - Part II. En esta conversación hablaremos del Templo Expiatorio de la Sagrada Familia de Barcelona. El arquitecto de la Basílica fue Antonio Gaudí, e ideó un proyecto tan grande, que pensó no poderse terminar en mucho tiempo. Sin embargo, las obras ya están llegando a la recta final... Y, en nuestra última conversación, aprenderemos a usar una nueva expresión española, No es oro todo lo que reluce. La usaremos para hablar de la llegada de Cristóbal Colón a América en 1492, con las ventajas y desventajas que esa colonización trajo, tanto para los pueblos indígenas, como para los colonizadores españoles. Entre la agresividad rusa, Europa aumenta drásticamente el gasto militar La UE combate la crisis de la vivienda relajando las normas y ofreciendo apoyo económico ¿Es la crítica más banal del arte moderno correcta? Unos ladrones le roban a un granjero francés caracoles por valor de 90.000 euros Basílica de la Sagrada Familia El "descubrimiento" de América y el auge del Imperio

In the late 1990s and early 2000s, Manhattan's Knoedler Gallery made about $80 million selling art by Mark Rothko, Jackson Pollock, Robert Motherwell, and other Abstract Expressionist icons. But in 2011, the truth came out: the paintings were forgeries. The buyers were scammed. Employees at the Knoedler claimed they, too, were victims. But were they actually in on the criminal conspiracy? Keep up with Conspiracy Theories! YouTube: ⁠⁠@ConspiracyTheoriesPodcast⁠⁠ Instagram: ⁠⁠@theconspiracypod⁠⁠ TikTok: ⁠⁠@conspiracy.pod Learn more about your ad choices. Visit podcastchoices.com/adchoices

Con los mismos ingredientes con que ahora se hacen las pulseras de la bandera de España, yo me hacía un bocata. Apretando esos dos botes fue cómo comprendí la pintura de Jackson Pollock. Me hice cosmopolita comiendo frankfurts al salir del cine.

(00:00) Customized Golf Instruction Based on Personality This chapter focuses on the diverse approaches to learning and improving in golf, emphasizing how personalized methods can enhance a player's experience and performance. I share insights into teaching golf in California, highlighting the universal nature of learning the sport, regardless of location. We explore how different personalities, such as analytical thinkers like accountants and engineers, benefit from a structured approach that satisfies their need for logic and problem-solving. Meanwhile, more creative types, such as artists, thrive on feeling and visualization. By tailoring teaching methods to individual learning styles, I aim to help each golfer find the right balance between understanding the mechanics and experiencing the fluidity of the game. (14:50) Improving Golf With Simple Techniques This chapter focuses on simplifying golf techniques for recreational players, emphasizing the importance of understanding the fundamental actions required for effective swings rather than getting bogged down by complex instructions. I illustrate this by recounting experiences with players who learned to approach their swings more intuitively, leading to improved performance. A key highlight is a lesson on bunker shots, where I demonstrate multiple methods for hitting the ball out of the sand, emphasizing the significance of getting the club below the ball to create an explosion of sand that propels the ball upward. This approach shows that understanding the underlying principles can make the game feel more accessible and enjoyable. (25:32) Simplifying Golf Techniques for Success This chapter focuses on simplifying the mental approach to playing golf and emphasizes the importance of balance and comfort in achieving better performance on the course. We explore how overthinking technical aspects can hinder enjoyment and performance, highlighting the experience of a golfer who follows a rigid checklist for different shots. Instead, we stress the value of feeling stable, comfortable, and balanced, encouraging golfers to take practice swings and adjust setups rather than overanalyzing during the swing. We also discuss how slight tweaks in stance or ball position can significantly impact performance, as illustrated by a two-handicap player who improved his swing by simply aligning the ball correctly. Through these insights, we aim to help golfers maintain a simple, effective approach that enhances both enjoyment and skill. (34:51) Immediate Results in Golf Instruction This chapter focuses on the art of communication and adaptability, drawing parallels between painting styles like Michelangelo and Jackson Pollock to highlight the importance of tailoring communication to different individuals. We explore the significance of being a good listener and observer to provide clients with immediate results, especially in contexts like sports coaching, where clients seek quick improvements. I share a story about a golfer with arthritis who believed he was a long-term project but found immediate relief and improvement through simple adjustments in posture and stance. This underscores the importance of not self-diagnosing or assuming problems are unsolvable, emphasizing that while golf and other sports may be easy to understand, achieving a high level of performance requires nuanced, often immediate, solutions. (43:21) Holiday Season Golf Gift Advice This chapter reminds listeners to give Thanksgiving its due recognition before rushing into the Christmas season. We touch on the tradition of post-Halloween candy sales, with some of us stocking up enough sweets to last through Thanksgiving and beyond. As we transition from holiday chatter to golf, we offer crucial advice for holiday shopping for golfers: avoid buying clubs unless specific instructions have been given, and opt for a gift certificate instead, ensuring a perfect fit. We emphasize the simplicity of the game—just swing and aim to improve with each outing. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Watch every episode ad-free & uncensored on Patreon: https://patreon.com/dannyjones Giampiero Ambrosi is a writer, journalist, and producer of documentary films such as "Bad Influence" on Netflix and "The Royal Stunt", an investigation into the hidden world of art forgery. https://giampiero.com SPONSORS https://brooklynbedding.com - Use code DANNY for 30% off site wide. https://shopmando.com - Use code DANNY for 20% off plus FREE shipping. https://trueclassic.com/danny - Upgrade your wardrobe and SAVE on TrueClassic today. https://whiterabbitenergy.com/?ref=DJP - Use code DJP for 20% off EPISODE LINKS https://giampiero.com FOLLOW DANNY JONES https://www.instagram.com/dannyjones https://twitter.com/jonesdanny OUTLINE 00:00 - Tony Tetro - world's top art forger 14:25 - investigating James Stunt's art collection 34:25 - how James Stunt made millions on fake art 40:29 - the lost Leonardi da Vinci painting 55:42 - what happened to Tony Tetro & James Stunt 01:06:00 - how Tony Tetro became a forger 01:13:03 - why older paintings are harder to forge 01:25:11 - how CIA used Jackson Pollock art as a weapon 01:38:25 - the problem with artists' foundations 01:45:55 - why such great art was made during the renaissance 01:53:42 - how modern art has evolved 02:07:03 - the dark side of kid influencers 02:11:10 - Roblox & section 230 02:19:52 - how to fix social media 02:25:44 - the doomsday clock 02:38:08 - BrandArmy & social media poisoning kids Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today on The Front. Remember Piss Christ? Bill Henson. Blue Poles. Why do Australians get so angry about art? Find out more about The Front podcast here. You can read about this story and more on The Australian's website or on The Australian’s app. The weekend edition of The Front is co-produced by Claire Harvey and Jasper Leak. The host is Claire Harvey. Audio production and editing by Jasper Leak who also composed our theme.See omnystudio.com/listener for privacy information.

The Museum of Modern Art, also known as the MoMA, in New York City, is one of the most worthwhile museums to visit while in the city. With 5+ floors and hundreds of thousands of pieces, including works by Jackson Pollock, Pablo Picasso, and Paul Cézanne, there is something for everyone at this world-class museum.Before you go, listen to this episode covering some of the most famous art, tour options, ticket prices, and must-know tips for your museum visit.

Welcome to Impact Quantum, the podcast where career paths are anything but straight lines and curiosity is the ultimate quantum skill. In today's episode, hosts Frank La Vigne and Candice Gillhoolley are joined by the extraordinary Christopher Bishop—TEDx speaker, futurist, deep tech MC, and host of Qubit Confidential—whose eclectic journey has taken him from performing on stage with rock legends like ZZ Top to driving innovation at IBM, and now delving deep into the world of quantum technologies.Together, they explore the rapidly evolving landscape of quantum careers—the surprising roles you didn't know exist (or will exist soon), how to transition into this transformative field, and why the right mix of adaptability, lifelong learning, and even a solid LinkedIn profile might be the keys to success in the quantum workforce. Christopher draws on his own nonlinear, multi-career trajectory to inspire listeners to embrace reinvention, leverage transferable skills, and dive headfirst into opportunities at the intersection of technology, business, and creativity.So, whether your CV looks like a Jackson Pollock painting or you're just quantum-curious, this episode is packed with practical advice, industry insights, and plenty of wit. Grab your favorite beverage and get ready to ponder a future where the only constant is change—and possibility.Time Stamps00:00 "Exploring Future Quantum Careers"05:05 "Career Journey: From Agencies to Author"09:56 Evolving Careers Through Technology12:29 Essential Roles in Quantum Startups15:39 Quantum Computing Epiphany at AI Conference19:16 "Past Tech vs. Future Innovations"23:52 Quantum Security Innovations Expand27:45 Emerging Quantum Networking Revolution30:20 "Cryptanalysis: Key Distribution Weaknesses"34:27 Lifelong Learning Approach36:08 "Invisible Technology"40:47 Vertical-Specific Business Solutions44:10 Networking and Conversation Strategies48:31 Deep Tech MC: Quantum Tech Speaker49:57 "From Bass to Quantum Bits"

This week in 1973, during the Whitlam era, a highly divisive cultural moment occurred. Gough Whitlam decided to spend $2 million US dollars, to buy US artist Jackson Pollock's Blue Poles. 

In this Parenting Is a Joke snack episode, Ophira Eisenberg talks with bestselling author Domenica Ruta about the messy, improvised reality of writing and parenting while raising kids. Domenica describes how her creative process has nothing to do with 4 a.m. routines—rejecting Glennon Doyle's approach with a “bitch, please” and instead likening her schedule to a Jackson Pollock painting made of poop. She recalls pounding out an “ugly” first draft while pregnant, then facing the absurd parent math of paying more for childcare than she earned from freelancing. The two trade stories about breast pumps that seemed to chant insults—never encouragement—and even hatch the idea of a pump that offers affirmations instead of taunts. Domenica also reflects on the painful friend attrition after her baby shower, the pushback she got from publishers who didn't want a book about motherhood, and her insistence on telling her novel All the Mothers through many voices—including even babies' points of view. The conversation ends with her pride in shaping a book that reflects the real chaos and shifting center of family life, even if, as Ophira jokes, the next draft should just add a sniper.

In this conversation, Marcus Du Sautoy explores the intricate relationship between mathematics and various forms of art, including music, literature, and visual arts. He discusses how mathematical concepts such as prime numbers, symmetry, and randomness influence creative processes and artistic expressions. Through examples from renowned artists like Shakespeare and Dali, Du Sautoy illustrates how mathematics serves as a blueprint for understanding and creating art, while also emphasizing the emotional and aesthetic dimensions of both fields.Takeaways Mathematics and art are deeply interconnected. The circle is fundamental to both mathematics and nature. Prime numbers are essential building blocks in mathematics. Music often employs mathematical structures for creativity. Shakespeare used prime numbers to disrupt rhythm. Symmetry plays a crucial role in both art and mathematics. Dali's work reflects his fascination with scientific ideas. Theatre allows for abstract exploration of mathematical concepts. Ambiguity is embraced in art but avoided in mathematics. Randomness can lead to unexpected creative outcomes.Chapters 00:00 Blueprints of Mathematics and Art 02:35 Defining Creativity and Its Interplay 04:24 Mathematicians as Collaborators with Artists 07:17 The Fractal Nature of Jackson Pollock's Art 12:54 The Significance of Circles in Mathematics 16:31 Exploring the Mystery of Prime Numbers 19:52 The Role of Primes in Music Composition 28:01 Mathematics and the Structure of Music 29:00 The Mathematical Foundations of Music 31:50 Art and Mathematics: Dali's Exploration 38:56 Theatrical Structures and Mathematical Concepts 43:46 The Distinct Narratives of Numbers and Art 48:07 Symmetry and Randomness: Blueprints of Creativity 58:49 Exploring Creativity Through MathematicsFollow Professor du Sautoy on Twitter, BlueSky, and find his new book here.Subscribe to Breaking Math wherever you get your podcasts.Follow Breaking Math on Twitter, Instagram, LinkedIn, Website, YouTube, TikTokFollow Autumn on Twitter, BlueSky, and InstagramBecome a guest hereemail: breakingmathpodcast@gmail.com

Today's episode starts out on a disappointing note. My guest Rian Stone, video essayist and author of the novels Softbone: Down and Out in New Kowloon and The Dog Walker, thought he was coming on to talk to his professional-wrestling hero, “Lightning” Lou Perez. I'm sorry I had to break the kid's heart—I am not that Puerto Rican guy—but I think I made up it up to Rian. We talked about culture as a weapon (see Jackson Pollock and Martha Graham); what it's like to host a stand-up show with Bill Burr in the lineup; my good friend and Ski School alum Dean Cameron; and why Rian (and you) should see The Naked Gun reboot. Turns out, Rian and I are a rare breed: We like things. And we want to get back to making things that are fun and seeing things made that are fun too. Check out my book, That Joke Isn't Funny Anymore: On the Death and Rebirth of Comedy https://amzn.to/3VhFa1r     Watch my sketch comedy streaming on Red Coral Universe: https://redcoraluniverse.com/en/series/the-lou-perez-comedy-68501a2fd369683d0f2a2a88?loopData=true&ccId=675bc891f78f658f73eaa46d Rock XX-XY Athletics. You can get 20% off your purchase with promo code LOU20. https://www.xx-xyathletics.com/?sca_ref=7113152.ifIMaKpCG3ZfUHH4  Attorneys on Retainer https://attorneysforfreedom.my.site.com/signupattorneysonretainerus/s/?promoCode=LU51ZEZ324  Support me at www.substack.com/@louperez    Join my newsletter www.TheLouPerez.com  Apple: https://podcasts.apple.com/.../the-lou-perez.../id1535032081  Spotify: https://open.spotify.com/show/2KAtC7eFS3NHWMZp2UgMVU  Amazon: https://music.amazon.com/.../2b7d4d.../the-lou-perez-podcast  YouTube: https://www.youtube.com/playlist?list=PLb5trMQQvT077-L1roE0iZyAgT4dD4EtJ  Lou Perez is a comedian, producer, and the author of THAT JOKE ISN'T FUNNY ANYMORE: ON THE DEATH AND REBIRTH OF COMEDY. You may have seen him on Gutfeld! , FOX News Primetime, One Nation with Brian Kilmeade, and Open to Debate (with Michael Ian Black). Lou was the Head Writer and Producer of the Webby Award-winning comedy channel We the Internet TV. During his tenure at WTI, Lou made the kind of comedy that gets you put on lists and your words in the Wall Street Journal: “How I Became a ‘Far-Right Radical.'” As a stand-up comedian, Lou has opened for Rob Schneider, Rich Vos, Jimmy Dore, Dave Smith, and toured the US and Canada with Scott Thompson. Lou has also produced live shows with Colin Quinn, the Icarus Festival, and the Rutherford Comedy Festival. For years, Lou performed at the Upright Citizens Brigade Theater (both in NYC and L.A.) in sketch shows with the Hammerkatz and his comedy duo, Greg and Lou. Greg and Lou is best known for its sketch "Wolverine's Claws Suck," which has over 20 million views on YouTube alone. In addition to producing sketch comedy like Comedy Is Murder, performing stand-up across the country, and writing for The Blaze's Align, Lou is on the advisory board of Heresy Press, a FAIR-in-the-arts fellow, and host of the live debate series The Wrong Take and The Lou Perez Podcast (which is part of the Lions of Liberty Podcast Network). Learn more about your ad choices. Visit megaphone.fm/adchoices

Nous sommes en décembre 1936, à New York. C'est au cour d'une soirée dansante que la peintre Lee Krasner rencontre celui qui deviendra l'une des figures majeurs de l'abstraction au vingtième siècle : Jackson Pollock. Plus tard, la jeune femme se souviendra d'un piètre danseur lui ayant écraser les pieds. Cette rencontre, apparemment sans conséquence, sera, heureusement, suivie d'une autre plus fructueuse faisant entrer celui et celle qui allait unir leur vie sentimentale et professionnelle, dans l'histoire de l'art. Pollock est devenu une légende de son vivant, c'est un fait entendu. Mais qu'en est-il pour Lee Krasner ? Une femme artiste dans la puritaine Amérique ? Une femme d'artiste singeant l'art de son homme ?En 1949, tous deux sont présents dans une exposition intitulée "Artistes: homme et femme". Un critique du magazine ARTnews écrit: "Il y a une tendance chez certaines de ces femmes à se "ranger aux styles de leur mari. Lee Krasner (Mme Jackson Pollock) prend la peinture et les émaux de son mari et transforme ses lignes effilées et balayées en petits carrés et triangles soignés." Plus tard, elle déclarera : «Tout mon travail va comme un pendule; il semble retourner vers une chose dans laquelle j'étais engagée auparavant, ou bien il oscille entre l'horizontalité et la verticalité, la circularité ou un composé d'entre elles. » Alors, Lee Krasner ne vaut-elle pas mieux que l'ombre de Jackson Pollock ? Ne perdons rien pour attendre… Invitée : Anne Hustache, historienne de l'art. Sujets traités : Lee Krasner, Jackson Pollock, art, artiste, peinture, abstraction, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 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 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.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. Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Arrancamos la semana con @anafvega:

The queens put the "arch" in "archive" and rediscover some favorite poetry blasts from the past.Please Support Breaking Form!Review the show on Apple Podcasts here.Aaron's STOP LYING is available from the Pitt Poetry Series.James's ROMANTIC COMEDY is available from Four Way Books.Listen to a reading Scott Cohen gave with poet  Tom Weatherly at St. Mark's Poetry Project in 1968. Read his poem "Coke" from a 1971 issue of The Paris Review.  David Henderson was raised in Harlem and helped to found the Black Arts Movement. Henderson's books include Neo-California (North Atlantic Books, 1998) and De Mayor of Harlem (E. P. Dutton, 1970). His first poetry collection, Felix of the Silent Forest, was published by Diane di Prima for Poets Press in 1967 with an introduction by Amiri Baraka. Read 3 of his poems here, or check out his Poem-A-Day selection (from Dec. 19, 2024) here.Also, check out David Henderson reading his poems with comment in the Recording Laboratory, May 3, 1978Carter Ratcliff's books on art include examinations of John Singer Sargent, Robert Longo, Jackson Pollock, and Andy Warhol. He won a Guggenheim for his fine art scholarship, and his articles and criticism have appeared widely in such magazines as Art in America, ARTnews, and Artforum. Check out his novel, Tequila Mockingbird and this poem from The Baffler. Read more about Iris Rifkin-Gainer here and watch an interview with her regarding her work in dance therapy. Read a poem of hers here too.Read Edwin Denby's bio as well as three poems here.David Denby is indeed an American journalist and reviewed films until 2014 for The New Yorker.  

In 2003, when the author James Frey published his first book, A Million Little Pieces—a gut-punch account of his experience with addiction and rehab—nobody could have expected what would come next. Thanks to an Oprah Book Club endorsement, A Million Little Pieces was instantly catapulted to bestseller status, but soon blew up in scandal after Frey admitted to having falsified certain portions of the book, which had been marketed as a memoir. The drama that ensued sparked a media controversy—one that now, around 20 years later, feels petty and misplaced, especially in the context of today's cancel-culture climate. More than 10 million copies of A Million Little Pieces have sold since, and Frey is still at it, writing, publishing, and pushing the boundaries of his art. His latest novel, Next to Heaven, is a rollicking, raunchy, absurd-yet-not satire about money, murder, and the all-too-human desires for power, pleasure, and greed. On the episode—our Season 11 finale, in which Frey sat lotus for the entire duration—he reflects on the A Million Little Pieces saga; his long-term study of Taoism; writing as a gateway to vulnerability; and why love, for him, is the greatest drug there is.Special thanks to our Season 11 presenting sponsor, Van Cleef & Arpels.Show notes:James Frey[5:08] “Tao Te Ching”[5:08] Lao Tzu[5:08] Stephen Mitchell[5:08] Taoism[8:51] Cubism[13:11] “A Million Little Pieces” (2003)[14:16] “Next To Heaven” (2025)[14:16] New Canaan, Connecticut[17:14] Jackie Collins[17:14] “Hollywood Wives” (1983)[17:14] Danielle Steel[21:35] Honoré de Balzac[29:37] “Katerina” (2018) [29:37] “Full Fathom Five” (1947) by Jackson Pollock[37:14] “Larry King Live” (2006)[39:09] “Tropic of Cancer” (1971)[42:24] “Up to Me” (1985)[44:20] “Kissing a Fool” (1998)[52:22] “My Friend Leonard” (2005)[52:22] “Bright Shiny Morning” (2008)[52:22] “The Final Testament” (2011)[58:56] “Author Is Kicked Out of Oprah Winfrey's Book Club”[58:56] “James Frey: ‘I Always Wanted to Be the Outlaw'”[01:03:18] Bret Easton Ellis[01:03:18] Jay McInerney[01:03:18] Norman Mailer[01:10:54] Rashid Johnson[01:10:54] HBO's “Native Son” (2019)

What if one of the most iconic characters in pop culture wasn't just a fictional hero, but a living archetype, an entity with its own will, forged in the minds of millions and fed by the imagination of its creators? Legendary comic book writer Alvin Schwartz thought his time with Superman was long over. But when a mysterious seven-foot-tall monk appeared at his doorstep claiming to be a tulpa, Schwartz was thrown into a mind-bending journey through the strange borderlands of reality and fiction. The monk, calling himself Thongden, insisted he was real… and fading. And he needed Schwartz to keep him alive. In this season finale, we explore the metaphysical memoir An Unlikely Prophet, uncovering Schwartz's hidden memories of psychic events, spontaneous channeling, and paranormal influences that began the moment he took on the mantle of Superman's writer. We hear bizarre tales of supernatural inspiration involving Jackson Pollock, mystic paintings of Hindu deities, and even a Hawaiian shaman who claims Tulpa Superman once saved the islands from volcanic doom. Then for our Plus+ members, we dive into the chilling Soviet archives of anomalous underwater encounters—where submariners report collisions with invisible crafts, stone spheres ramming hulls, and USOs that defy radar and reason. We follow the trail of Russian researcher Mikhail Gerstein into lakes and oceans where strange entities dwell beneath the surface, including terrifying run-ins from elite “hydronauts” who may have seen things no one was meant to survive. An Unlikely Prophet: A Metaphysical Memoir by the Legendary Writer of Superman and Batman Alvin Schwartz (comics) Fourth Wall Phantoms: Reflections on the Paranormal, Narrative, and Fictions Becoming Fact Walter Evans-Wentz Everett J. Nelson Paranormal Research Channel The Soviet Ufo Files: Paranormal Encounters Behind the Iron Curtain UFO Research in the Former Soviet Union Kikhpinych Volcano Industrial Facility Bay of Finland Encounter LinksPlus+ Extension The extension of the show is EXCLUSIVE to Plus+ Members. To join, click HERE. Learn more about your ad choices. Visit megaphone.fm/adchoices

The journey from discarded material to transcendent art forms the foundation of our conversation about Leonardo Drew, one of contemporary art's most physically committed and philosophically profound creators. Drew's remarkable journey began in the most unlikely of places—playing in a dump as a child in Tallahassee, Florida—a formative experience that would later inform his artistic sensibility and material relationship.What strikes you immediately about Drew is the joyful contradiction between his ebullient personality and the weighted gravity of his installations. His work appears weathered, aged, and discovered rather than created, yet as we learn, this is a carefully orchestrated illusion. "I don't work with found objects," Drew reveals. "Most of my material I actually create in the studio... I become the weather." This transformation process, where new materials are methodically distressed until they appear to carry centuries of history, speaks to Drew's profound understanding of time, memory, and physical transformation.Perhaps most compelling is Drew's pivotal turning point at age fifteen, when a black-and-white reproduction of a Jackson Pollock painting changed everything. Despite being courted by Marvel and DC Comics for his extraordinary illustrative talents, Drew abandoned this promising commercial path to pursue fine art—a decision requiring remarkable courage. "I decided it was time for me to stop using what I did well," he explains, essentially tying his hands to discover what existed beyond his comfort zone. This willingness to abandon mastery in pursuit of deeper questions characterizes his entire approach.Drew's extraordinary work ethic—rotating between seven projects simultaneously like "crying babies" needing attention—and his seven-year disappearance into the studio to develop his voice demonstrate a commitment few artists match. His perspective on creative struggle as "the most beautiful part of the journey" reminds us that art-making thrives on questions rather than answers. Experience Drew's transformative installations in person to understand why his work commands such reverence among artists and audiences alike.Sources:Leonardo Drew in "Investigation" - Season 7 - "Art in the Twenty-First Century" | Art21https://www.youtube.com/watch?v=ymMGgOCoK8k&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=5An Interview with Leonardo Drew | Wadsworth Antheneumhttps://www.youtube.com/watch?v=-75fm_UzhYg&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=4Woodcuts: Leonardo Drew | useum of Arts and Design (MAD)https://www.youtube.com/watch?v=4N3S2nvDcvU&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqR&index=3Artist Talk: Leonardo Drew | Amon Carter Museum of American Art Fort Worthhttps://www.youtube.com/watch?v=LtsqaHfEYxc&list=PLfV5vsCYQApkupBnzNY3YxKpFJeNb7HqRCarrie Scott, SEEN Podcast | Leonardo Drewhttps://open.spotify.com/episode/1a54U1cidMrWratJewuyFy?si=27cd5abd710f4439Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Welcome to the Jackson Pollock of Podcasts... we've got rugs from Kathmandu, remodels, and some home design real talkSee omnystudio.com/listener for privacy information.

We've got rugs from Kathmandu, remodels, and some home design real talk.See omnystudio.com/listener for privacy information.

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Leonard Bernstein, in his famous Norton Lectures, extolled repetition, saying that it gave poetry its musical qualities and that music theorists' refusal to take it seriously did so at their peril. In Play It Again, Sam: Repetition in the Arts (MIT Press, 2025), Samuel Jay Keyser explores in detail the way repetition works in poetry, music, and painting. He argues, for example, that the same cognitive function underlies both how poets write rhyme in metrical verse and the way songwriters like Duke Ellington and Billy Strayhorn (“Satin Doll”) and Richard Rodgers and Lorenz Hart (“My Funny Valentine”) construct their iconic melodies. Furthermore, the repetition found in these tunes can also be found in such classical compositions as Mozart's Rondo alla Turca and his German Dances, as well as in galant music in general.The author also looks at repetition in paintings like Gustave Caillebotte's Rainy Day in Paris, Andy Warhol's Campbell's Soup Cans, and Jackson Pollock's drip paintings. Finally, the photography of Lee Friedlander, Roni Horn, and Osmond Giglia—Giglia's Girls in the Windows is one of the highest-grossing photographs in history—are all shown to be built on repetition in the form of visual rhyme.The book ends with a cognitive conjecture on why repetition has been so prominent in the arts from the Homeric epics through Duke Ellington and beyond. Artists have exploited repetition throughout the ages. The reason why is straightforward: the brain finds the detection of repetition innately pleasurable. Play It Again, Sam offers experimental evidence to support this claim. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Send us a textLol look at Ai glazing usReligious fasting turns into an unexpected data dive when the guys discover Pornhub's analytics show significant drops in specific content during Ramadan. This kickstarts an exploration of cultural oddities that spans continents and decades.Ever wondered why tracksuits became the uniform of Eastern European men? The hosts uncover the surprising status symbol behind Adidas gear in post-Soviet states, revealing how the first Western apparel company allowed behind the Iron Curtain transformed fashion into political currency. This cultural analysis provides genuine insight into how seemingly superficial fashion choices carried profound historical significance during the Cold War.The conversation takes a conspiratorial turn with declassified information about CIA involvement in abstract expressionist art movements. From funding Jackson Pollock to developing "heart attack guns," the hosts speculate about the agency's wildest projects with a comedic lens that makes historical absurdities approachable while questioning the thin line between security operations and madness.Personal stories from Division III football dominate the second half, featuring incompetent coaches, bizarre motivational tactics from questionable "Navy SEALs," and the unique social dynamics that develop in locker rooms. Through authentic, unfiltered anecdotes about team politics and informal "councils," the hosts unpack complex topics like belonging, race, and masculinity with surprising depth beneath their humor.Ready for a journey through religious practices, covert operations, and athletic misadventures? Hit play and join the conversation that proves truth really is stranger than fiction. Don't forget to subscribe and share your favorite moments with us online!

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What can the history of science tell us about the world we live in today and where we might be headed tomorrow? To find out, Dr. Charles Liu and co-host Allen Liu welcome historian of science Rebecca Charbonneau, PhD from the American Institute of Physics and the National Radio Astronomy Observatory with expertise in radio astronomy and the search for extraterrestrial intelligence (SETI). This episode kicks off with Allen and Chuck talking about January's Lunar Occultation of Mars. You can see a photo taken by Chuck on our YouTube Community tab. And then it's time for today's joyfully cool cosmic thing: a recent paper in the Astrophysical Journal Letters confirming there are galaxies that were fully formed just 400 million years after The Big Bang. Chuck, who studies galactic evolution, tells us why this changes our understanding of galaxy formation. Rebecca talks about how new ideas can be controversial and how personalities, politics and cultures can impact the evolution of science. She brings up the current controversy in astronomy concerning the locations of terrestrial telescopes and the tension between scientific and cultural imperatives. She also recounts seeing people in Russia wearing NASA t-shirts and explains how NASA understood the importance of controlling the narrative, even inviting Norman Rockwell to popularize the space program. Our first question comes from Pablo P. on Patreon, who asks, “Can humanity be destroyed by AI powered by quantum computing?” Rebecca explains how during the Cold War, scientists on both sides engaged in “science diplomacy” that helped lower tensions. She applies this thinking to AI, pointing out that while a “Terminator-like” scenario is unlikely, public concern is causing the tech world to confront and grapple with real threats from AI like biases in hiring algorithms. Allen, a mathematician who writes about AI professionally, addresses whether AI powered by quantum computing is more dangerous than AI in general. Rebecca shares the terrifying story of a Soviet nuclear submarine and the US navy during the Cuban Missile Crisis that nearly started a nuclear war. The dissenting actions of a single officer named Vasily Arkhipov made the difference, and she wonders if AI would have made the same decision based on the available data. For our next question, we return to our Pablo P. from Patreon for his follow up: “How [do] we answer the question about whether or not we are engaging in self-destructive behavior?” Chuck and Rebecca discuss the confluence of astronomy and the military, and how the history of the SETI program highlights their shared concerns. You'll find out what the Drake Equation has to do with concepts like The Great Filter. Science, she reminds us, is a tool to try to get closer to the truth, but it's not always perfect in pointing out whether what we're doing is safe or potentially self-destructive. Then we turn to Rebecca's other big passion, art history and the window into the human experience that art provides. Charles brings up The Scream by Edvard Munch and the fact that it's actually a depiction of a real atmospheric event. Rebecca talks the use of fractal studies to determine the authenticity of Jackson Pollock art. She also explores the artistic value of scientific artifacts like the controversial plaque attached to Pioneer 10 depicting a naked man and woman, and the interstellar Arecibo Message, sent by Frank Drake in 1974. You'll even hear how Frank worked himself into the message and what that has to do with Albrecht Durer's self-portrait painted in the year 1500. Finally, we turn to what Rebecca's been up to recently. Her new book Mixed Signals came out in January of this year. Keep up with her on her website at and follow her on X @rebecca_charbon and on BlueSky @rebeccacharbon.bsky.social. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: A young Milky Way-like galaxy and a background quasar 12 billion and 12.5 billion light-years away, respectively. – Credit: ALMA (ESO/NAOJ/NRAO), M. Neeleman & J. Xavier Prochaska; Keck Observatory Artist's concept of a high red-shift galaxy. – Credit: Alexandra Angelich (NRAO/AUI/NSF) John Young and Gus Grissom are suited for the first Gemini flight March 1965. Norman Rockwell, 1965. – Credit: Smithsonian National Air and Space Museum / Norman Rockwell Edvard Munch, 1893, The Scream. – Credit: Edvard Munch / National Gallery of Norway (Public Domain) Fractal study of Jackson Pollock art. – Credit: “Perceptual and physiological responses to Jackson Pollock's fractals,” R. Taylor, et al, Front. Hum. Neurosci., 21 June 2011. The Arecibo message. – Credit: Creative Commons NASA image of Pioneer 10's famed Pioneer plaque. – Credit: NASA Albrecht Durer self-portrait. – Credit: Albrecht Dürer - Alte Pinakothek (Public Domain)

Note: Hi friends. We had to say goodbye to our sweet, 17-year-old cat, Boo, this week, so we're releasing this episode from our Patreon. We'll be back to our regularly scheduled programming next week. Teri Horton didn't mince words. The $5 thrift store painting she'd picked up for a friend was ugly. Very ugly. It wasn't even what she'd call art. It looked like blobs and sprays of paint flung willy-nilly on a massive canvas. So, when Teri's friend didn't want the painting, Teri wasn't offended. But Teri was sure surprised when an art teacher told her she might have purchased a genuine Jackson Pollock painting. Teri's response was quick. “Who the f*** is Jackson Pollock?” Remember, kids, history hoes always cite their sources! For this episode, Kristin pulled from: The documentary, “Who the #$and% is Jackson Pollock?” “The Case for Jackson Pollock,” by PBS Digital Studios “The Mark of a Masterpiece” by David Grann for the New Yorker “Jackson Pollock: Demystifying America's Most Influential Painter,” by The Conspiracy of Art YouTube channel “$50-million question,” by Louise Baring for The National Post “‘Ugly' painting's creator still disputed; now artists claim it,” by Kristina Sauerwein for The Los Angeles Times “A thrift-shop Jackson Pollock masterpiece?” 60 Minutes “‘Bakersfield Mist' pits art misfit against art maven,” by Barbara Yoresh for the Indian River Press Journal “Costa Mesa woman known for the fight to authenticate a possible Jackson Pollock painting dies without selling it,” by Susan Hoffman for the Daily Pilot “After 25 years, Costa Mesa woman still holding out for a ‘fair price,'” for the Daily Pilot