Podcasts about jean luc nancy

Federico Ferrari"L'insieme vuoto"Per una pragmatica dell'immagineJohan & Levi Editorewwwjohanandlevi.comChe cos'è un'immagine? Perché le immagini hanno assunto un'importanza così grande nelle nostre vite? Cosa significa avere uno sguardo? Federico Ferrari riflette sulla società delle immagini e sul rapporto ritmico tra immagine e parola, ritmo che forgia il nostro orizzonte, concentrandosi sull'uso delle immagini e sul mondo che esse creano, sulla disseminazione dello sguardo nell'impossibilità di una sola visione del mondo, di una sola misura.L'immagine contemporanea infatti impone oggi una nuova definizione del guardare, che parta dalla singolarità di ogni visione ma sia anche capace di abbracciarne la pluralità. Ed essendo le visioni possibili, per definizione, infinite, ciò che davvero conta è ciò che sottende ed è quindi comune a tutte. Detto con i termini della teoria degli insiemi, è un insieme vuoto che si presenta come un nulla ma che è anche qualcosa: lo sguardo, ciò che ci precede e che resta aperto al di là di ogni visione possibile, di ogni immagine data. L'insieme vuoto dello sguardo è la potenza del vedere.Federico Ferrari, insegna Filosofia dell'arte all'Accademia di Belle Arti di Brera a Milano, dove nel 2009 ha creato il biennio specialistico in Visual Cultures e Pratiche Curatoriali e nel 2025 il Centro di Ricerca di Storia e Toeria dell'arte. Nel 2020 ha fondato, assieme ad Andrea Cortellessa e Riccardo Venturi, la rivista online Antinomie. Tra i suoi ultimi libri, L'anarca (2014), Oscillazioni (2016), Il silenzio dell'arte (2021) e, con Jean-Luc Nancy, Estasi (2022).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Federico Ferrari"L'antinomia critica"Luca Sossella Editorewww.lucasossellaeditore.itRisposte chiare e distinte non ce ne sono, perché in queste pagine ciò che si affronta non è tanto un discorso quanto un percorso sul metodo. Un cammino tortuoso e impervio lungo quella via nel linguaggio fatta di continui tornanti, strade senza uscita, sensi unici, sentieri che non portano in nessun luogo.A fronte di una presa di posizione netta e impegnativa, Federico Ferrari intraprende un viaggio fra parola e immagine, mistica e religione, letteratura, arte e filosofia, in un dialogo che coinvolge voci anche lontane; voci che, intrecciandosi lungo la via dell'antinomia critica, lasciano intuire quale sia, effettivamente, il prezzo dei nostri pensieri. L'anarchismo metodologico ha in sé, non la possibilità, ma la certezza di scontrarsi con il proprio fallimento. Questa certezza, la certezza di non poter mai giungere a una conclusione, è, in definitiva, ciò che lo rende inutile per costruire sistemi e, per questo, insostituibile per pensare. Federico Ferrari, docente di Filosofia dell'arte all'Accademia di Belle Arti di Brera, è stato visiting professor in diverse università europee e ha scritto una decina di libri, tradotti nelle principali lingue del mondo.Per Luca Sossella Editore, ha pubblicato Lo spazio critico (2004), Il re è nudo (2011), Il silenzio dell'arte (2021), L'anarca (2023) e, con Jean-Luc Nancy, Iconografia dell'autore (2006) e Estasi (2022).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

This week on Below the Radar, we are joined by Travis Holloway: a poet, translator, Assistant Professor of Philosophy at SUNY Farmingdale, and author of the book How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene (Stanford University Press, 2022). Am and Travis discuss noticing patterns in contemporary art making during the climate crisis. Travis also shares about translating the work of philosopher Jean-Luc Nancy, the importance of friendship with all living beings, and the process of publishing a book. Full episode details: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/233-travis-holloway.html Read the transcript: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/transcripts/233-travis-holloway.html Donate to Below the Radar: https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/donate.html Resources: How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene: https://www.sup.org/books/title/?id=34552 Read more of Travis's work: https://pratt.academia.edu/TravisHolloway Bio: Travis Holloway grew up queer and working class in a rural factory town affected by free trade and globalization. His most recent book is How to Live at the End of the World: Theory, Art, and Politics for the Anthropocene (Stanford, 2022). Holloway is Assistant Professor of Philosophy at SUNY Farmingdale and a poet and former Goldwater Fellow in Creative Writing at NYU. He has an M.F.A., Ph.D., and is Assistant Professor of Philosophy at SUNY Farmingdale, a translator, and a poet and former Goldwater Fellow in Creative Writing at NYU. His primary interests are in contemporary continental philosophy, aesthetics, social and political philosophy, queer theory, and the environmental humanities. His work on these topics has been published in Italy, Turkey, the UK, Columbia, Canada, the Czech Republic, and the U.S. His most recent publications include "Weather" (The Philosopher, 2022), "Philosophy at the End of the World: For a Counterhistory of Human Beings in the Anthropocene" (The Philosopher, 2020), "A Strategy for a Democratic Future" (Tropos, 2019), “Neoliberalism and the Future of Democracy" (Philosophy Today, 2018), and “How to Perform a Democracy” (Epoché, 2017). He is co-translator of three books and several articles by Jean-Luc Nancy, and co-author of several public-facing articles and the book Occupying Wall Street: The Inside Story of an Action that Changed America (OR Books, 2011). He is currently working on two additional monographs: How to Perform a Democracy; and How to Assemble with All the Living. Holloway has received fellowships from the Fulbright Commission, the DAAD, the Andrew Mellon foundation, and the Max Kade Institute for research and advanced study in Germany, France, and Italy. Cite this episode: Chicago Style Johal, Am. “How to Live at the End of the World — with Travis Holloway.” Below the Radar, SFU's Vancity Office of Community Engagement. Podcast audio, January 30, 2024. https://www.sfu.ca/vancity-office-community-engagement/below-the-radar-podcast/episodes/233-travis-holloway.html.

As the Radical Thoughts Podcast is no longer active, I am making these old bonus episodes from Patreon publicly available so that listeners don't have to pay for an inactive podcast. - Patrick In this special crossover episode, Patrick talks with C Derick Varn of Varn Vlog about the legacy of Jean-Luc Nancy. While both bemoan the more frivolous stylings of French theory, the discussion appreciates the serious questions that Nancy raised about the nature of community and the assumptions that underpin the concept.This episode was released as a crossover episode also available to Varn Vlog Patreon supporters. Varn Vlog Patreon: https://www.patreon.com/varnvlog/ Internet Encyclopedia of Philosophy page for Nancy: https://iep.utm.edu/nancy/  Verso Interview: https://www.versobooks.com/blogs/5150-jean-luc-nancy-communism-means-conceiving-being-in-common

Paola Goretti"Alfabetiere emotivo"Cinquesensi Editorewww.cinquesensi.itUna ricca antologia letteraria che raccoglie alcuni tra i brani più evocativi della narrativa e della poetica di ogni tempo, Alfabetiere Emotivo, recuperando l'illustre tradizione degli Alfabetieri del primo e secondo Novecento, offre scoperte di inusitata bellezza che suggeriscono al lettore il senso di un'emozione profonda, sia essa legata all'amore umano che a quello divino. Una raccolta originale e preziosa che potrà fungere da privatissimo breviario, accompagnando momenti di raccoglimento e meditazione.Dalla visionarietà di Borges alla sognante dimensione del Piccolo Principe, dai lampeggiamenti di Jean-Luc Nancy al gioioso misticismo di Tagore, dall'aulica voluttà di d'Annunzio all'erranza di Jabès; e poi Cristina Campo, Mariangela Gualteri, Livia Chandra Candiani, Alba Donati, Clarice Lispector. E ancora, l'iniziatica sapienza del Buddha e la paradisiaca letizia di San Francesco, la delicatezza dell'ukiyo-e, le contemplazioni delle mistiche e la mistica delle pietre preziose. L'anima delle piante e quella degli animali, i germogli che sbocciano, i fiori nel campo, gli uccelli nel cielo. Il canto e l'incanto dell'impermanenza, il canto e l‘incanto dell'eternità.Paola Goretti, cinquecentista di formazione, storica dell'arte e del costume, voce narrante, poetessa (Scheiwiller 1994, Premio Montale), imparolatrice. Si è dedicata per vent'anni ai sistemi del vestiario di alta epoca, poi confluiti in innumerevoli scritti (Skira, Allemandi, Il Cigno, Rizzoli, Mazzotta, Bulzoni, Il Poligrafo, FMR) e in Monumenta. I Costumi di Scena della Fondazione Cerratelli, fotografie di Aurelio Amendola (Pacini), premiato dal Club Unesco di Firenze (2010). Ha collaborato con prestigiose istituzioni culturali nazionali e internazionali per progetti interdisciplinari, tenuto la cattedra di Scenari (1998-2005) presso l'Università dell'Immagine di Milano ideata sui cinque sensi da Fabrizio Ferri, lavorato alla Fondazione Ermitage (2009-2010) per alcune ricognizioni sul patrimonio italiano a San Pietroburgo, insegnato in ogni dove. Si occupa di estetica della luce e della natura, di tradizione classica e integrazione sensoriale. Responsabile scientifico del Museo Crocetti di Roma (2013-2016) e dell'attuale percorso espositivo, ha curato mostre minuscole e monumentali. Tra queste, Aurelio Amendola. Un'antologia (Pistoia 2021; Bari 2022), nelle Edizioni Treccani. Dal 2013 collabora con Il Vittoriale degli Italiani, dove ha realizzato D'Annunzio e l'arte del profumo. Odorarius Mirabilis (2018), scenografia del Maestro Pier Luigi Pizzi. Nel 2022 ha pubblicato “È l'immortale rosa”. D'Annunzio e il fiore dell'ebbrezza (Silvana) e La rosa di Bologna. Una storia profumata (Minerva). Tra parole come rose, rose come parole.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itQuesto show fa parte del network Spreaker Prime. Se sei interessato a fare pubblicità in questo podcast, contattaci su https://www.spreaker.com/show/1487855/advertisement

Gareth Hughes is in the second year of his PhD in Comparative Literature and Culture at Royal Holloway. His thesis explores spatial transformations in contemporary French and multilingual poetry. In this episode of the ‘Narratives of Nation' series, Gareth talks about the multilingual poems of Michèle Métail, the power of poetry to loosen the bind between nationality and language, and how entering into poetic spaces can help us to reimagine the world. -------------- References: Gratton, Peter and Morin, Marie-Eve (eds.), Jean-Luc Nancy and Plural Thinking : Expositions of World, Ontology, Politics, and Sense (Albany: SUNY Press, 2012). Li, Xiaofan Amy, ‘A Post-Orientalist Turn: Pascal Quignard, Michèle Métail, and China', The Western Reinvention of Chinese Literature, 1910–2010 (Leiden: Brill, 2022). Les Linguistes atterré(e)s, Le Français va très bien, merci (Paris : Gallimard, 2023). Métail, Michèle, Le Cours du Danube en 2888 kilomètres/vers… l'infini (Dijon : Les presses du réel, 2018). Les Horizons du sol : panorama (Marseille : CipM / Spectres familiers, 1999). Le Vol des oies sauvages (Saint-Benoit-du-Sault : Tarabuste, 2011). Nancy, Jean-Luc, The Creation of the World or Globalization, trans. François Raffoul and David Pettigrew (Albany: SUNY Press, 2007). Parish, Nina & Wagstaff, Emma, ‘Michèle Métail : traduire la contrainte', Michèle Métail : la poésie en trois dimensions, ed. Anne-Christine Royère (Dijon : Les Presses du réel, 2019). -------------- Image: “The Map of the Armillary Sphere” by Su Hui, from Michèle Métail's Le vol des oies sauvages : poèmes chinois à lecture retournée (Tarabuste Éditions, 2011). Credit: Hopscotch Translation, accessed via https://hopscotchtranslation.com/2021/10/18/janet-lee-marcella-durand/ [24 August 2023] --------------- Technecast is a podcast series showcasing research from across the arts and humanities. It is produced by Edwin Gilson, Felix Clutson, Isabel Sykes, Morag Thomas and Olivia Aarons. Fancy turning your research into a podcast episode? We'd be happy to hear from you at technecaster@gmail.com.

“El arte ha podido y todavía puede hundirse”. Son palabras del filósofo francés Jean-Luc Nancy, en el libro Señales sensibles. En este capítulo hacemos una revisión crítica del panorama del arte actual junto al autor, donde plantea, entre otras cosas, que el exceso de técnica es nocivo para la producción artística y para la producción sensible.

Welcome to More Christ. We seek to bring some of the world's most interesting and insightful guests to discuss life's central and abiding questions. In this ninety fourth episode in a series of discussions, I'm joined by Dr Christopher Watkin. Chris is a Senior Lecturer in French Studies at Monash University, Melbourne, Australia. At its broadest, his research seeks to make sense of how people make sense of the world, and how they interact with ideas and positions different from their own. In his first book Phenomenology or Deconstruction? (2009) he explored the complex relationship between two major philosophical tendencies in the thought of Maurice Merleau-Ponty, Paul Ricoeur and Jean-Luc Nancy. Difficult Atheism (2011) then examined how three contemporary thinkers—Alain Badiou, Jean-Luc Nancy and Quentin Meillassoux—make sense of the world without the gods of metaphysics, poetry and religion, and how their three positions critique and refine each other. In French Philosophy Today: New Figures of the Human in Badiou, Meillassoux, Malabou, Serres and Latour he shifted the focus from God to a humanity, arguing that very different contemporary thinkers each rely on a ‘host' to make sense of the human, whether it be a capacity, substance or narrative. His later book, Michel Serres: Figures of Thought continues his investigation into different ways of making sense of the world by presenting the first systematic treatment in English of a key twentieth and twenty-first century philosopher whose genuinely cross-disciplinary work finds complex ‘North-West passages' between the sciences, humanities and arts. His latest book, Biblical Critical Theory, is the focus of our discussion and builds upon his previous endeavours in fascinating ways. Please see: https://christopherwatkin.com/ https://www.amazon.co.uk/Christopher-... https://twitter.com/DrChrisWatkin

Photographer and curator, Anne Immelé and Michael have a fascinating coversation about curating shows that take into account both sight and sound. We also talk about Anne's new book, Les Jardins De Riesthal or Riesthal Gardens, a series of poetic portraits of family and landscape within a community garden that Anne tended to with her family for a period of 15 years. http://www.anneimmele.fr https://charcoalbookclub.com/collections/recent-books/products/les-jardins-de-riesthal Bonus Content: https://youtu.be/hppeViU9kaM This episode is sponsored by the Charcoal Book Club https://charcoalbookclub.com Charcoal Book Club is the monthly subscription service for photobook enthusiasts. Working with the most respected names in contemporary photography, Charcoal selects and delivers essential photobooks to a worldwide community of collectors. Each month, members receive a signed, first-edition monograph and an exclusive print to add to their collections. Anne Immelé, Ph.D, has worked as an exhibition curator, building on theoretical, committed research, since her Master's degree in Visual Arts at the Université Laval in Quebec, Canada (1997). She analyses the spatial installation of photography and the medium of the exhibition itself. Her curatorial research stems from a Doctorate of Arts thesis, entitled "Constellations Photographiques" submitted in 2007 at the University of Strasbourg and published by Médiapop Éditions in 2015. Anne Immelé lives and works in Mulhouse. Her photographs question our relationship to the territory in its multiple dimensions: geographical, human, social but also memorial and poetic. She is the author of several books, including WIR with the philosopher Jean-Luc Nancy published by Filigrane, ou Oublie Oublie, published by Médiapop in 2021. Her photographic work is regularly exhibited. Professor at HEAR, Haute Ecole des Arts du Rhin, she co-founded in 2013 the BPM – Biennale de la photographie de Mulhouse, of which she is the artistic director and curator of certain exhibitions. Support Real Photo Show with Michael Chovan-Dalton by contributing to their tip jar: https://tips.pinecast.com/jar/real-photo-show

Der 1955 in Hamburg geborene Musiker und DJ wurde in der zweiten Hälfte der 1980er-Jahre auch als Schriftsteller bekannt. Neben seiner Band FSK, die er seit 40 Jahren mit seiner Ehefrau Michaela Melián und anderen Freunden hat, wurde er mit seinem Buch Tomboy (Suhrkmap) berühmt. In dem 1998 bei Suhrkamp erschienenen Buch hat er seine frühe Judith Butler Lektüre verschriftlicht. Kein Wunder, dass einer seiner Lieblingstexte „Gender Trouble“ von der Philosophin Judith Butler ist. Es ist 1991 auf deutsch unter dem Titel „Das Unbehagen der Geschlechter“ bei Suhrkamp erschienen. Und Mascha Jacobs hat ein paar Jahre später ihre Magisterarbeit über das gleiche Buch geschrieben. Das zweite von Thomas Meinecke mitgebracht Buch ist „Forschungsbericht“ von Hubert Fichte (Fischer 1989), ein Band von Fichtes „Geschichte der Empfindlichkeit“. Seine Interessen und Themen seiner Texte sind sehr breit gestreut: von der Mystik, zu Mae West, über Camp zu Anaïs Nin zu Drag Queens und Lookalikes. Genug Gesprächsstoff also für die beiden Ex-Kolleg*innen beim Zündfunk des Bayerischen Rundfunk. Sie sprechen über experimentelles Schreiben, öffentliches Sprechen, Wiederholungen, den magischen Charakter der Sprache, Bündnisse, nicht-männliches Schreiben, fanatisches Lesen, unsere Popsozialisationen, Hingabe, die Lust und Qualen des Nichtverstehens, Theorietraining mit Jean-Luc Nancy und seine Schule der Zärtlichkeit, Mediävistik. Über nicht geschlossene, nicht-männliche postmoderne Autorensubjekte und Schreibweisen in der Vormoderne, Dominoeffekt und Kettenreaktionen, campe und marginalisierte Leseweisen. Das Lesen zwischen den Zeilen, Pastiche, Parodie, Mitschriften, Palimpseste, Pop, Begehren, Vogueing, Realness, Fag Stags, Nicht-Authentisches, unakademische, hochelaborierte Szenarien und Exotismus. Es geht in einem wilden Ritt um Überschreibungen, ethnopoetologische Mitschriften, das Abtasten der Wirklichkeit und des Nicht-Authentischen und Drag Queens „als ambulante Archive von Fraulichkeit“.

Der 1955 in Hamburg geborene Musiker und DJ wurde in der zweiten Hälfte der 1980er-Jahre auch als Schriftsteller bekannt. Neben seiner Band FSK, die er seit 40 Jahren mit seiner Ehefrau Michaela Melián und anderen Freunden hat, wurde er mit seinem Buch Tomboy (Suhrkmap) berühmt. In dem 1998 bei Suhrkamp erschienenen Buch hat er seine frühe Judith Butler Lektüre verschriftlicht. Kein Wunder, dass einer seiner Lieblingstexte „Gender Trouble“ von der Philosophin Judith Butler ist. Es ist 1991 auf deutsch unter dem Titel „Das Unbehagen der Geschlechter“ bei Suhrkamp erschienen. Und Mascha Jacobs hat ein paar Jahre später ihre Magisterarbeit über das gleiche Buch geschrieben. Das zweite von Thomas Meinecke mitgebracht Buch ist „Forschungsbericht“ von Hubert Fichte (Fischer 1989), ein Band von Fichtes „Geschichte der Empfindlichkeit“. Seine Interessen und Themen seiner Texte sind sehr breit gestreut: von der Mystik, zu Mae West, über Camp zu Anaïs Nin zu Drag Queens und Lookalikes. Genug Gesprächsstoff also für die beiden Ex-Kolleg*innen beim Zündfunk des Bayerischen Rundfunk. Sie sprechen über experimentelles Schreiben, öffentliches Sprechen, Wiederholungen, den magischen Charakter der Sprache, Bündnisse, nicht-männliches Schreiben, fanatisches Lesen, unsere Popsozialisationen, Hingabe, die Lust und Qualen des Nichtverstehens, Theorietraining mit Jean-Luc Nancy und seine Schule der Zärtlichkeit, Mediävistik. Über nicht geschlossene, nicht-männliche postmoderne Autorensubjekte und Schreibweisen in der Vormoderne, Dominoeffekt und Kettenreaktionen, campe und marginalisierte Leseweisen. Das Lesen zwischen den Zeilen, Pastiche, Parodie, Mitschriften, Palimpseste, Pop, Begehren, Vogueing, Realness, Fag Stags, Nicht-Authentisches, unakademische, hochelaborierte Szenarien und Exotismus. Es geht in einem wilden Ritt um Überschreibungen, ethnopoetologische Mitschriften, das Abtasten der Wirklichkeit und des Nicht-Authentischen und Drag Queens „als ambulante Archive von Fraulichkeit“.

Fin de Fiesta Cosecha tardía: Luis Diego hace un psicoanálisis sobre el dinero y en la segunda hora habla sobre Jean Luc Nancy y filosofía. Couto habla con Gaby Lamadrid sobre vinos. Aki deambula por BA y habla sobre la adolescencia y la pandemia .

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. 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

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth's book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy's book Listening (Fordham UP, 2007), Inayat Khan's The Mysticism of Sound and Music (Shambala Publications, 1996), the music of Toru Takemitsu, and Damo Suzuki´s “sound carriers.” In our longer conversation she talked about Naomi Waltham-Smith's new book, Shattering Biopolitics: Militant Listening and the Sound of Life (Fordham UP, 2021) Julie Beth is an Associate Professor of Digital Humanities at The New School. She also makes music under the name Meridians. You can listen on Sound Cloud! This week's image is a simulation of interference between two sound waves in two-dimensions made by Ibrahim S. Souki, used under a Creative Commons Attribution Share Alike License, from Wikimedia Commons. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Nous nous sommes entr'aperçues et il m'aura fallu ces 15 mois pour découvrir l'univers de Claire-la-bien-nommée. Son parcours riche, sa pudeur et son regard ...sur la vie, les êtres, le yoga sont de jolies inspirations. Claire enseigne et est fondatrice du centre Pranayoga à Caen. Elle nous a partagé :.

¿Es un anhelo la voz? ¿Está siempre llamando ? ¿A qué? ¿A quiénes? En esta ocasión nos convida su voz Costanza Pellici , traicionamos a la Claudia Huergo, la Herta Muller y al Jean Luc Nancy, entre otras llamaradas.@lavozhumanapodcast Nicolás Galli & Pilar Oddone

23 marzo 2022 - Francesca Romana Recchia Luciani - Francesca R. Recchia Luciani, PhD. Prof. Ordinaria di Filosofie contemporanee e saperi di genere e di Storia della filosofia dei diritti umani, è Responsabile della linea d'azione relativa alle questioni di genere, Coordinatrice del Centro Interdipartimentale di Studi sulle Culture di Genere (CISCuG-UniBA) e Coordinatrice del Consiglio d'Interclasse di Filosofia dell'Università di Bari Aldo Moro. Ha scritto saggi e monografie su Max Weber, Ludwig Wittgenstein, Peter Winch, Simone Weil, Hannah Arendt, Primo Levi, Günther Anders, numerose ricerche sulle filosofie femministe, studi di genere e teorie queer come il manuale scolastico (curato con A. Masi) su Saperi di genere. Dalla rivoluzione femminista all'emergere di nuove soggettività (2017), oltre che sull'ermeneutica del totalitarismo e della Shoah. Dirige la collana del Melangolo Xenos. Filosofia, fenomenologia e storia dell'alterità e co-dirige “Postfilosofie. Rivista di pratiche filosofiche e di scienze umane”. Dirige per conto del DISUM-UniBA, il Festival delle Donne e dei Saperi di Genere, ambito di ricerca, approfondimento e disseminazione dei temi legati alle soggettività femminili e alle trasformazioni delle identità sessuali e di genere, giunto, con cadenza annuale, alla IX edizione (2020). Dopo aver curato la raccolta di saggi di Jean-Luc Nancy intitolata Del sesso (2016), ha co-tradotto, introdotto e curato il libro del filosofo strasburghese Sessistenza (2019), oltre a saggi e interventi sulla violenza di genere. Coordina lo Short Master dell'Università di Bari su “Teoria e didattica dei diritti delle differenze”, la cui III ed. si è svolta nell'A.A. 2018-19, e il Corso per le competenze trasversali “Valorizzare le differenze. Pratiche e politiche di Diversity Management” (A.A. 2020/21). Altro suo ambito prevalente di ricerca da vari anni è l'ermeneutica della Shoah che coltiva sia organizzando ogni anno il Corso di Storia e Didattica della Shoah presso l'Università di Bari, giunto già alla VIII edizione, sia attraverso varie pubblicazioni: ha tradotto e curato il libro di Joža Karas, La musica a Terezín 1941-1945 (2011); nel 2007 ha curato, con F. Fistetti, il volume collettaneo H. Arendt. Filosofia e totalitarismo; nel 2013, con L. Patruno, la raccolta di saggi Opporsi al negazionismo. Un dibattito necessario tra filosofi, giuristi e storici; nel 2014 e in nuova edizione nel 2015 ha pubblicato La Shoah spiegata ai ragazzi; nel 2016 ha curato con C. Vercelli il volume collettaneo Pop Shoah. Immaginari del genocidio ebraico. Le sue ultime pubblicazioni sono: Simone Weil, Filosofia della resistenza. Antigone, Elettra, Filottete (2020), da lei curato e introdotto, e il libro Il racconto della Shoah per il XXI secolo. Testi, testimonianze, film (2020).

durée : 01:01:00 - Les Nuits de France Culture - ar Adrien Landivier - Avec en archives, les voix de Paul Sares et du Professeur Didier (enseignant au CNAM), Bernard Charron (chef opérateur du son à France Culture), Claude Ollier (écrivain), Christian Zanesi (compositeur), Pierre Schaeffer (compositeur, chercheur théoricien, ingénieur du son, auteur du "Traité des objets musicaux", 1966 et "Musique de notre temps", 1976), Christian Poché (ethnomusicologue), Michel Redolfi (compositeur), Jean Thevenot et Paul Caron (producteurs de radio), Yann Paranthoën (producteur et réalisateur de documentaires radiohoniques, ingénieur du son), Jean-Luc Nancy (philosophe), Catherine Dolto (pédopsychiatre), Michel Chion (compositeur, enseignant, chercheur, spécialiste du son), Alfred Tomatis et Jacques Chancel, François Bayle (compositeur, directeur du groupe de recherches musicales (GRM) de 1966 à 1997) et Frédéric Durieux (compositeur) - Réalisation Anne Franchini

What you'll learn in this episode: How we can examine almost any political topic through the lens of jewelry  Why it's important that jewelry be embraced by academia, and how every jewelry enthusiast can help make that happen (even if they're not in academia themselves) Why a piece of jewelry isn't finished when it leaves the hands of its maker How Matt works with collaborators for their column, “Settings and Findings,” in Lost in Jewelry Magazine How jewelry has tied people together throughout time and space About Matt Lambert Matt Lambert is a non-binary, trans, multidisciplinary collaborator and co-conspirator working towards equity, inclusion, and reparation. They are a founder and facilitator of The Fulcrum Project and currently are a PhD student between Konstfack and University of Gothenburg in Sweden. They hold a MA in Critical Craft Studies from Warren Wilson College and an MFA in Metalsmithing from Cranbrook Academy of Art.  Lambert currently is based in Stockholm Sweden and was born in Detroit MI, US where they still maintain a studio. They have exhibited work nationally and internationally including at: Turner Contemporary, Margate, Uk, ArkDes, and Sven-Harrys Konstmuseum, Stockholm, Sweden, Museo de la Ciudad, Valencia , Spain and Walker Art Center, Minneapolis, MN, US. Lambert represented the U.S in Triple Parade at HOW Museum, Shanghai, China, represented the best of craft in Norway during Salon del Mobile, Milan, Italy and was the invited feature at the Benaki Museum, Athens, Greece during Athens Jewelry Week. Lambert has actively contributed writing to Art Jewelry Forum, Garland, Metalsmith Magazine, Klimt02, Norwegian Craft and the Athens Jewelry Week catalogues and maintains a running column titled “Settings and Findings” in Lost in Jewelry Magazine. Additional Resources: Matt's Website Matt's Instagram Transcript:  Matt Lambert doesn't just want us to wear jewelry—they want us to question it. As a maker, writer, and Ph.D. student, Matt spends much of their time thinking about why we wear jewelry, who makes it, and what happens to jewelry as it's passed from person to person. They joined the Jewelry Journey Podcast to talk about the inspirations behind their work, why jewelry carries layers of meaning, and why wearing jewelry (or not wearing it) is always a political act. Read the episode transcript here.    Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Matt Lambert, who is joining us from Stockholm. Matt is a maker, writer and performer currently pursuing a Ph.D.    Matt's jewelry journey has taken them from country to country. What sticks in my mind is one of my first encounters with them on an Art Jewelry Forum trip. I saw them in a hotel lobby in Sweden wearing one of their iconic creations, a laser-cut leather neckpiece I flipped over. We'll hear all about their amazing jewelry journey today. Matt, thanks so much for being here.   Matt: Thanks so much for having me, Sharon. It's a pleasure.   Sharon: Your jewelry journey has taken you all over the world. I'm always amazed when I hear how you hop from country to country. So, tell us about it. How did you get into it?   Matt: Originally I was trained as a psychologist.   Sharon: Wow!   Matt: It's kind of strange, but it makes perfect sense for what I do now in human sexuality and gender. I was researching body politics and what it means to be a person and be represented through media or in other cultures. I started off in that community, and I took a metalsmithing course on a whim. There was a woman in one of my classes who was taking it as her art elective. I thought we were going to be making something completely different by forging silver. I was like, “Wait, what? You can do that?” I really fell into it.   I was a researcher for the APA doing government research—   Sharon: APA being the American Psychological—   Matt: The American Psychological Association. After community college, I went on to Wayne State and studied under F.M. Larson for metalsmithing. At the very end, Lauren Kalman joined. She is tenured and was well-known at Wayne State University in Detroit.    The work I was doing was very rigorous. I worked in a rape and trauma research lab with no windows in a basement, and I wasn't finding a way to talk about people and bodies and those things in the ways I had hoped. It was fulfilling me, but not in every aspect of my life.  So, I kept pouring myself into this strange thing of contemporary jewelry.    I never thought I would go to grad school. I wound up going to Cranbrook Academy of Art, which is just 40 minutes down the road from Wayne State. Even then, I thought I was going to go across the country for art school. I fell in love with the program at Cranbrook. Iris Eichenberg, who teaches there, told me, “You have to fail really bad in order to learn what's good and what's good for your practice.” It was so liberating that I could apply all the research I learned and used and still use it today, but to put it and manifest it in jewelry. That opened Pandora's box.    Sharon: How did you decide to go from studying psychology and being at Wayne State to go to such a renowned art school that you don't know? It's for art jewelers, basically.   Matt: Yeah, it's renowned. I think it shares the number one space for metalsmithing and jewelry, and it's renowned also for hollowware and gate making. It has a long history of Americana metalsmithing. With Iris being there for contemporary jewelry, it sounds a little bit pretentious.    The relationship I was in wanted me to stay local. It was like, “You should apply.” I really thought through everything weird and wonderful that I wanted to be doing, and I was like, “If I'm going to stay, then you have to take this all on.” Iris was like, “O.K., let's do it.” Even if didn't work out, it was like, “I can just go back to psychology if this doesn't work.”   Cranbrook has an international reputation which also meant traveling a lot. In between semesters, I was the assistant for Christoph Zellweger, who's based out of Zurich, Switzerland. I don't know if they're still there now, but at the time, I was their assistant in Switzerland during my years there. My partner was Monica Gaspar, so I got a theorist who I also got to work with. Then I kind of traveled everywhere. Before I started at Cranbrook, the first time I was in Europe, we had to go to KORU7, which is the jewelry triennial in Finland. They also do seminars. So, for me, it became a very global, European to North American perspective.   Sharon: I'm always amazed at your country hopping. Was this something you were considered a natural at? Were you finger painting at age five and your parents were saying, “Oh, they're going to be an artist”?   Matt: I do have a background in wildlife illustration. I was homeschooled until sixth grade, but I was put in a lot of enrichment programs, so I did have ceramics; I had languages; I had all sorts of courses and electives. Growing up I trained in something called monart, which is not taught in public school; it's only for private training. It's a way of drawing where you draw from negative space, which I think contributes to my work, as I think through negative space. I was doing a lot of wildlife illustrations. I have quite a few childhood publications, like realistic waterfowl and birds of prey. I dabbled a little bit with Sidney Shelby. The Shelby has an art program for auto illustration, too.   So, there is some of that. I thought I was going to go into drawing and painting before I went into psychology, but I had an evaluation at community college when I started and they kind of broke my dreams. They said I was terrible and said, “You shouldn't be an artist.” I would always say, “If you're told you shouldn't be an artist, you probably should be.” So, I went into psychology as a shelter to do that.    I'm a big advocate for trade schools and community colleges as places to find yourself. I fell in love with metalsmithing there, and I knew I would never leave it. My mother's cousin was actually a former a Tiffany's jeweler, so there is a little bit in the family. She was a cheerleader for me. She was like, “You're doing what? Oh, have you found a hammer and silver? Great.” She trained under Phil Fike, who was at Wayne State University when she was there. It's always interesting what she thinks I do because I'm not a very technical, proper silversmith like she was. When I finally went to school and said I was going to do this officially, she gave me her studio.   Sharon: Wow! You have two master's degrees and now you're working on a Ph.D. Can you tell us about that? One is critical art, or critical—   Matt: Yeah, critical craft theory. I graduated Cranbrook in 2014 from metalsmithing and jewelry, and I had electives in sculpture and textile. At the same time, I should say, I had also apprenticed as a leatherworker doing car interiors, like 1920s period Rolls-Royces, so I had a leather background I was able to bring to Cranbrook. A lot of my work was varied, but there was a lot of leather involved. After that, I had a partial apprenticeship in semi-antique rug restoration. There's a lot of training in leather-working material.   So, I graduated, and I met Sophia. We had met a few times, and then she ended up being the evaluator/respondent for our graduation show. So, she saw my work as I wished it to be, and she offered me a solo show. She said, “An agent is coming to see the gallery. Come help out. Come see this world,” which is how we met.   Sharon: And her gallery is in Sweden, right?   Matt: Her gallery is in Stockholm, yes, in Sweden. I had a show, and that was amazing. There's a government program called IASPIS, which is an invite-only program that the Swedish government runs. It's the international arts organization. I was invited there because they were looking for—they added applied arts, and I was the first jeweler and metalsmith to be there. That's a three-month program where you're invited to live and work, and that gives you great networking opportunities not only with Sweden, but also with Scandinavia at large for museums and shows. I was the first foreigner at Tobias Alm, who was a Swedish jeweler and the first Swedish artist in jewelry to be there. That just upped and changed my life. I got into museum shows and met people and had a career for about four or five years and loved it; it was amazing and I wanted more.    I love theory. I am a theory addict, so I was like, “A Ph.D. is the next logical thing.” I was applying and making finals, but jewelry is a hard sell, if you will, in academia. Warren Wilson College is in North Carolina in the States. There is a think tank out of the Center for Craft, which is located in Asheville, North Carolina, and they deal with all kinds of craft. They're a great epicenter and source of knowledge for American craft discourses. Out of this came this development of this program. They partnered with Warren Wilson College to create a master's, which is a two-year program at Warren Wilson College, which is just 20 minutes away from Ashville.    It's low residency, so there's two weeks per term you'd be in person and the rest you could live anywhere, which was perfect for me because I was traveling so much. So, you do two weeks on campus in the summer and live in the dorm, and then you do two weeks—when I did it, at least, it was with the Center for Craft. We had a classroom there. Namita Wiggers is the founding director, and we got to work with amazing theorists: Linda Sandino, Ben Lignel, who's a former editor for Art Jewelry Forum, Glenn Adamson, the craft theorist, Jenni Sorkin, who lives in California teaching, Judith Lieman—this is an amazing powerhouse. There's Kevin Murray from Australia, who runs the World Crafts Organization. I was a bit part in it. He also edits Garland, which is an Australia-based publication for craft. It was an amazing pulling together of craft theory. At this time, I also thought I was dyslexic, so I was trying to find a new way to write being neurodivergent. Writing has now become—   Sharon: You do a lot of it. When I was looking last night, I could see you've done a lot of writing. My question is, why did you not stop and say, “O.K., I'm going to make things I like”? What was it that attracted you to theory? Maybe it's too deep for me.    Matt: I think we've positioned the Ph.D. to be the next step always, but I don't think academia is for everybody. A master's even, I always questioned, do we as makers always need to be in academia? For me, though, my drive is that I think jewelry is in one of the best theoretical positions to talk about a lot of very difficult contemporary issues. Craft in general, but I think jewelry because it's so tied to the body. It's so blurry because it's design; it's fashion; it's craft; it's art; it's a consumable good; it can be worn. It challenges how we exhibit it. If you need to wear it to experience it, how does a museum show it?    For me, it's this little terror or antagonizer that I think theoretically, from my background, is a great place to stay with, and I think that it's been neglected in certain spaces. It's the only field to not be in the Whitney Biennial. It ties perfectly with certain forms of feminism and queerness, which is the theoretical basis I come to it from, to talk about these things. It can't be always defined, and that's what I love about jewelry. People find it surprising when I'm like, “I love talking about commercial jewelry or production jewelry,” because if that's what turns your gears, what you love to wear or buy or make, I want to know why. I want to see jewelry expand and envelope all of this, so that we can be at the Whitney Biennial. We also could be everywhere else.   Sharon: Can't you do that without the Ph.D.? I'm not trying to knock it. I'm just playing devil's advocate.   Matt: Yeah, I think someone else can do that as well. For me, though, I truly love theory. I love the academics. For me, that is an actual passion. It's what drives me. It's not necessarily the physical making; it's the theory behind why. I'm actually questioning my practice. Should I be making physical objects now, or should I just be celebrating people that make physical objects? My making practice is almost entirely collaborative now, working with other jewelers or performers or choreographers or educators and using jewelry as a way of introducing or as producing an output.    How does jewelry fit into research? I think research output is an interesting thing for me. I can go on about this all day. So, for me, I want to make an academic foothold for jewelry. I want to do that work. I see that as my facet. I don't think everybody needs to go and do that. I want to see everybody find the thing they love as much as I love academia and theory. I want to push on so we can expand the field together.   Sharon: I think that's great. It's great to hear, because it's a strong voice giving credibility to the field, as opposed to, “Oh, you must be interested in big diamonds if you're talking about jewelry.” You're talking about it on a much deeper level. It's hard to explain to people why you like jewelry or jewelry history, so it's good to hear.    Last night—I say last night because I was refreshing my memory—I was looking at one of your articles about the “we” in jewelry. Can you tell us about that?   Matt: Absolutely. I write for multiple publications: Metalsmith Magazine, which is in the U.S. and is part of SNAG, the Society for North American Goldsmiths; Norwegian Craft; Art Jewelry Forum. I run a column called Settings and Findings out of Lost in Jewelry Magazine, which is based in Rome. I also write for Athens Jewelry Week catalogues, which has gotten me into writing a series for Klimt, which is a platform for makers, collectors, wearers, and appreciators based out of Barcelona. They invited me to write a five-part series after they had republished an essay I wrote for Athens Jewelry Week. Those people gave me an amazing platform to write, and then Klimt was like, “What do you want to do?” and I was like, “Five essays about what we do with jewelry.”    One of them is the “we” article. That came from being in lockdown and the theorist Jean-Luc Nancy, who wrote about something called “singular plural.” It's just saying that we don't ever do anything alone, and I think jewelry is a beautiful illustration of that. I moved during the pandemic to do the Ph.D., and I found myself wearing jewelry to do my laundry because I got to do it with a friend. It's so sappy in way, but it's true. It's a way to carry someone else with you, and jewelry is not an act done alone. I mean, we're trained as jewelers. We're trained by someone, so we carry that knowledge with us. We are transmitters as makers, but then we have collectors and wearers and museums and other things, and they need to be worn. It needs to be seen in some fashion or valued or held.    My personal stance is that jewelry, once it leaves my hands as a maker, isn't done. I'm interested as a researcher, as a Ph.D., in how we talk about that space in between. If you wear one of my pieces, and someone listening wears one of my pieces, and that same piece is in a museum, how we understand that is completely different. Jewelry creates this amazing space to complexify, and that's when you talk about bodies and equity and race, sex, gender, size, age. All the important things that are in the political ethos can be discussed through jewelry, and that's the “we” of jewelry.    We have this controversy about the death of the author and authorship doesn't matter, but speaking through craft, we are never alone. To me, it's like I make through the people I've learned through. I am a transmitter to the people that I teach and to me, that's what craft is. Also, craft is a way of looking at the world, at systems, and who we learn from and how we learn. I think jewelry is one of the most obvious “we's.”   Sharon: This is a question that maybe there's no answer to, but is jewelry separate from craft? There's always the question of what craft is. Is craft art? Is it jewelry?    Matt: That depends on whom you ask. I personally do not believe in the art versus craft debate. I am not in that pool. I believe craft is a way of looking at anything in the world. I think craft is learned through material specificity. I usually enjoy metalsmithing. It's through copper or silver, but it's really spending time with something singular to explore its possibility. It's a way of learning how things start, how things are produced, how labor works, where there are bodies and processes, so you can pick up anything in the world and look at anything and see people and humanity. Even through digital technology, someone has to write a program. It gives you a skillset to look at the world, and that's how I approach craft.    You're going to find so many different definitions, but coming from that perspective, that is what I believe, and that's why I think craft is so valuable. To answer if jewelry is craft, yes and no. You can talk about jewelry through craft, but you could talk about jewelry through fashion. You can talk about jewelry through product design. Again, I think that's why jewelry is beautiful and problematic, because it can be so many things at the same time.    Sharon: I'm intrigued by the fact that you're interested in all kinds of jewelry, whether it's art jewelry or contemporary jewelry. When you're in the mall and you see Zales and look in the window, would you say it all falls under that, with everything you're talking about? Does it transmit the same thing?   Matt: Through a craft lens, you can look at any of that. You can go to Zales and the labor is wiped out. You're no longer going to your local jewelry shop. The person is making your custom ring, but when you look at that ring, you have an ability to go, “Someone had to facet the stone and cut it, a lapidary. Someone had to make the bands. Someone had to mine the stone. Someone had to find this material.” It allows you to unpack where objects are coming from and potentially where they're going.    You can understand studio practices because you're relating more directly to a maker, who has more knowledge of where their materials come from, rather than the sales associate at the Zales counter. It's a simpler model, but it is the same thing to me. The way I look at it, that is craft's value to my practice. I'm very careful to say it's my practice because there are so many definitions, but that's what I think is sustainable in this training. You can be trained as a jeweler and not make jewelry, but it's still valuable in your life because you can apply it to anything.   Sharon: I was also intrigued by the title of an article you wrote, “Who Needs Jewelry, Anyway?” So, who does need jewelry?   Matt: Yeah, that's one that kicked it up to the next level. There are moments in my career where I can feel the level upward, like I enter a space that's different. That was an essay that was written for Athens Jewelry Week. That was the first essay I wrote before I had the feature at the Benaki Museum. At Athens Jewelry Week, those women worked their tails off to make that event happen.    I wrote that when I was at the tail end of my second master's, and I was frustrated. I think we see that students are frustrated and people are questioning, especially during Covid, especially during Black Lives Matter, especially during the fight for indigenous rights, do we need jewelry? What does this mean? It's a commodity. It can be frivolous. It's a bauble. It can be decorative. Like, what are we doing? I think that is something we should always question, and the answer for that can be expressed in many ways. It can be expressed from what you make, but also what you do with what you make. How do you live the rest of your life?    There isn't a one-lane answer for that, but that's what that essay was about. We don't need jewelry, but we really do. The first half of the essay is saying what the problem is, but the problem is also where the solutions sit. It's all about how you want to approach it. That is what that essay was saying. You can consume this and wear it; it is what it is, and that's fine. You can participate in systems and learn and discover and know who you are wearing and support them. Wearing jewelry is a political act no matter what jewelry you're wearing. Where you consume is a political act. Political neutrality is still a political statement. That article specifically was for art jewelry, and it was saying, hey, when you participate, when you buy, when you wear, when you make, it means something. You're bringing people with you; what people are you choosing to bring? It was stirring the pot, and it was very intentional to do that.   Sharon: I couldn't answer the question about who needs jewelry. You're asking me, but certainly I can think of people who say, “I don't need it,” who have no interest or wouldn't see the continuum behind a ring or a piece of jewelry.    This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. 

In this episode, we spoke with Alessandra Pomarico about creating collaborative art for social change, both before and during the pandemic. The show begins by talking about friendship and different collectives in Italy and New York, before moving on to new ways of thinking which combine resistance and existence (re-existence). Centring re-existence in Latin American ideas and the Zapatista movement, Alessandra puts forward a new way of learning through collective living and collaborative art spaces. Resources: Free Home University: https://www.fhu.art/ Ecoversities Alliance: https://ecoversities.org/ Learning With Covid: https://ecoversities.org/how-to-hospice-the-current-system-learning-with-covid/ 16 Beaver: https://16beavergroup.org/ Society of the Friends of the Virus: https://16beavergroup.org/mondays/2020/03/22/society-of-the-friends-of-the-virus-volume-1/ Firefly Frequencies: https://fireflyfrequencies.org/ Giorgio Agamben, Jean-Luc Nancy, & Roberto Esposito exchange letters: https://www.lacan.com/symptom/philosophy-the-coronavirus/ Chto Delat: https://chtodelat.org/ People of Flour, Salt, and Water: https://www.fhu.art/people-offlour-salt-and-water-session Institute of Radical Imagination: https://instituteofradicalimagination.org/ When the Roots Start Moving. First Movement: To Navigate Backward: Resonating with Zapatismo: https://instituteofradicalimagination.org/2021/09/07/to-navigate-backward-resonating-with-zapatismo-book/ To Be Determined artist residency video: https://www.sfu.ca/content/sfu/vancity-office-community-engagement/library/2016/to-be-determined.html Bio: Alessandra Pomarico is a founder of Free Home University. Originally from Italy and with a PhD in Sociology, Alessandra has been curating international and multidisciplinary artists' residency programs in Italy and Europe. Her practice is based on facilitating collaborative, context-based art projects, with a focus on social change. She previously taught History and Italian Literature in high schools in disadvantaged areas.

Audio del encuentro de Filosofía a la gorra en JJ Circuito Cultural, CABA, 24 de octubre de 2021 Sonido y edición: Agustín Dell'Acqua

In this episode Claudia continues the focus on methodology as it relates to animals and sound. This time Mickey Vallee joins The Animal Turn to talk about the concept of bioacoustics and how using bioacoustics methods alters the ways researchers relate to their research subjects – who are often animals. They discuss some of the theory and ideas circulating bioacoustics generally and Mickey's experiences more specifically.  Date Recorded: 26 October 2021 Mickey Vallee is an associate professor of interdisciplinary studies at Athabasca University in Alberta, where he also holds the Canada Research Chair in Community, Identity and Digital Media. His work focuses on developing interdisciplinary sonic methodologies to develop new insights on human/animal relations. He has been working on a theory of critical bioacoustics, which grows out of his empirical research with bioacoustics researchers across Canada and the United States. Against a mechanistic ideology of bioacoustics sciences, critical bioacoustics, by contrast, builds a new ethical system that is less focused on the atomistic constitution of the organism than it is on the primacy of relations in sonic communication. Read more about Mickey here or connect with him on Twitter (@mickeyvallee).  Featured: Keynote Lecture by Prof Rosi Braidotti  at the Posthumanism and Society Conference; Wikipedia page about Little Nipper; A Thousand Plateaus: Capitalism and Schizophrenia by Gilles Delueze and Flex; What would animals say if we asked the right questions by Vinciane Despret; Listening by Jean-Luc Nancy and Charlotte Mandell; Indri Lemur by Mark H. Barsamian and Amy E. Dunham; Giant Lemurs are the First Mammals beside us found to use Rhythm by Jack Tamisiea The Animal Turn is part of the  iROAR, an Animals Podcasting Network and can also be found on A.P.P.L.E, Twitter, and Instagram Thank you to Animals in Philosophy, Politics, Law and Ethics (A.P.P.L.E) for sponsoring this podcast; the Sonic Arts Studio and the Sonic Arts of Place Laboratory (SAPLab) for sponsoring this season; Gordon Clarke (Instagram: @_con_sol_) for the bed music, Jeremy John (Website) for the logo, and Hannah Hunter for the Animal Highlight

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie II : Le récit, le mythe, la correspondance Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira laviemanifeste.com/archives/5791

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie I : Le commun, le communisme, la communauté. Le fascisme, la communion. Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira https://laviemanifeste.com/archives/5791

Entretien radiophonique avec Jean Luc Nancy en trois parties. Partie III : Le politique, la politique, la religion civile. Entretien : Emmanuel Moreira, Amandine André Réalisation : Emmanuel Moreira laviemanifeste.com/archives/5791

Avec Tiphaine Samoyault, Michel Deguy, Guillaume Métayer, Claude Mouchard, Martin Rueff & Luc Champagneur Depuis 1977, la revue Po&sie ne cesse de traduire et de réfléchir sur la traduction « impossible-possible » de la poésie. Elle a saisi l'occasion de la publication des livres de Tiphaine Samoyault (Traduction et violence, Le Seuil, 2020) et de Guillaume Métayer (A comme Babel, traduction, poétique, éd. la rumeur libre, 2020) pour revenir sur les tâches des traductrices et des traducteurs. Elle a donc consacré trois numéros à cette grande affaire : Traduire/Celan et Et, en traduisant, traduire. Des textes théoriques (Antoine Berman, Michel Deguy, Marc de Launay, Robert Kahn, Jean-Pierre Lefebvre, Jean-Luc Nancy) ; un dialogue avec Tiphaine Samoyault, mais aussi un grand nombre de traductions inédites (un immense dossier turc, mais aussi Lermontov) ou de retraductions (Arioste, Eliot, Goethe, Milton entre autres) composent ce bouquet dense. À lire – Les trois derniers numéros de la revue Po&sie aux éditions Belin : Traduire/Celan (2020, n°4) et Et en traduisant, traduire (2021, n°1 et 2).

http://polaroid41.com/regarder/ Lundi 6 Septembre 2021, 10h49. Quand on me demande si j'ai passé de bonnes vacances, je réponds oui. Cette année, oui. On a découvert le Finistère, on a pris le temps de se poser, j'ai regardé mes filles grandir. Voilà, à peu près ma réponse à chaque fois. Elle est sincère. Depuis le mois de mars 2020, j'ai la sensation d'avoir été mis à l'épreuve. J'ai réalisé entre autres choses qu'on pouvait me retirer le droit de faire mon métier. Alors maintenant que je peux à nouveau monter sur scène, je le fais de manière plus tranquille et j'en savoure tous les instants. Quelque chose a lâché en moi peut-être. Je crois bien que j'ai déposé ce qui me restait d'angoisse sur une plage du Finistère. Elle est partie avec la houle. J'ai regardé. J'ai regardé l'océan. Je me suis senti bien petit, mais faisant partie du tableau malgré tout. J'ai regardé mes filles donc. Les étés se suivent mais ne se ressemblent pas. Chaque été est unique. Au cas où je l'oublie, ma deuxième fille a eu la bonne idée de naître au mois d'Août, histoire de me rappeler que le temps passe. Du coup on se souvient de chacun de ses anniversaires puisqu'on les fête sur le lieu de vacances. Cette année c'était donc les « neuf-ans-Finistère ». C'était très chouette. On est allé au restaurant comme tous les ans, privilège de l'anniversaire en vacances, et le chef-cuisinier est venu lui chanter à l'oreille « Tanti auguri a te », bon anniversaire en italien. Tranquillement, simplement. Je ne me souvenais même pas avoir mentionné l'anniversaire d'Anouk. J'ai vu les yeux de ma fille briller. Elle a trouvé ça incroyable d'être célébrée discrètement, et en Italien. Moi aussi. Je n'ai même pas de photo du moment, je l'ai simplement regardée. Comme j'ai regardé ses deux sœurs sur la plage, la petite pour qui le maillot de bain c'était encore trop et qui finissait bien souvent nue dans les vagues, la grande enroulée autour du pied du parasol parce que le soleil ça va bien comme ça, et puis on y voit rien pour lire. J'ai regardé l'imposant percheron prénommé Alex qui venait nous saluer tous les matins au portillon, j'ai regardé l'océan, mes congénères, les arbres… J'ai pris le temps de regarder, ça m'a plu, ça sera donc désormais la règle. J'en profite pour l'écrire ici, je reviendrais la lire si besoin. Et puis les vacances se sont terminées, ça aussi c'est la règle. Alors on a réintégré nos pénates. Je me suis remis à mon bureau le lendemain même et j'ai pris le temps de lire Le Monde. Lire Le Monde (au sens propre comme au figuré) est mon petit plaisir de tous les jours. Nous étions le 23 Août 2021, un philosophe venait de mourir, Jean-Luc Nancy. Ça me chagrine toujours un peu que les philosophes meurent. Bizarrement, ça me le fait moins avec les dictateurs. Son nom me disait quelque chose, je l'avais probablement déjà entendu dans une émission de philosophie à la radio, mais à part ça, pas grand-chose. Alors j'ai lu l'article, et j'ai pris un peu de temps pour rencontrer le monsieur. On le présentait comme un penseur de la communauté, et philosophe du sensible. Tout ce que j'aime. Je l'ai trouvé à la fois très accessible et très érudit, preuve s'il en fallait que les deux qualités sont conciliables. Je suis notamment tombé sur une vidéo d'un entretien avec le philosophe traitant du regard. ... Polaroid intégral (photo, texte et audio) disponible sur : http://polaroid41.com/regarder/

"Tombe de sommeil" de Jean-Luc Nancy Avec Hélène Lacoste, Jean-Christophe Marq & Jean-Luc Nancy « Pas - dit le dormeur comme le mort, je ne suis pas là. Pas là, pas maintenant, pas ici, pas ainsi. « Je » devient inintelligible, c'est une sorte de grognement ou de soupir qui s'échappe des lèvres à peine décloses. » Le sommeil déchire en nous la clarté, la raison, la distinction. Il révèle ce qui est et demeure déchiré, comme la mort. Pourtant rien d'invisible n'est à sauver, simplement le murmure d'une sensation, le contact repris et soudain permis, les voix qui se livrent et s'abandonnent, s'écoutent. Mise en voix : Hélène Lacoste - mise en espace : Oria Steenkiste. Musique : Jean-Christophe Marq, violoncelle. À lire - Jean-Luc Nancy, "Tombe de sommeil", Galilée, 2007.

Vídeo neste link.

Autor: Zeh, Miriam Sendung: Büchermarkt Hören bis: 19.01.2038 04:14

Autor: Zeh, Miriam Sendung: Büchermarkt Hören bis: 19.01.2038 04:14

Kim speaks with Julie Beth Napolin about Resonance. Julie Beth’s book The Fact of Resonance: Modernist Acoustics and Narrative Form (Fordham UP, 2020) explores resonance and sound in modern literature. In the episode she references Jean-Luc Nancy’s book Listening (Fordham UP, 2007), Inayat Khan’s The Mysticism of Sound and Music (Shambala Publications, 1996), the music […]

Jonathan and Jeff continue their conversation on the philosophical magic show, Derek DelGaudio's In & Of Itself -- and this time they spend more than five minutes talking about it! While this episode doesn't contain spoilers from the show, we would highly recommend watching it first if you are able! This time around, they spend a lot more time talking about the show itself. They talk about Jeff's disappointment with magic shows in general and what that feeling might signal. Does it signal a deep desire to know the "in and of itself" of reality? What does it mean to want a deeper reality than the reality that you are stuck with? They talk about the difference between tricks versus magic, the love of fantasy novels (any Dragonlance fans out there still?), Jonathan's brilliant Junior High ping pong career, C.S. Lewis's friend Charles Williams' interest in real magic, Rosicrucians, miracles and magic and the unexplainable givenness of reality, and the Four Horsemen of the New Atheist Apocalypse (but mostly just Daniel Dennett and only briefly). Topics that are raised in DelGaudio's show trigger conversations about what it means to be part of a place and how this creates identity, what it means to "be told who you are" by others now vs. historically, and more. Jeff also talks about American Idol in a way that suggests he doesn't realize it hasn't been a current reference for several years. Warning that there may be some small, brief spoilers about The Prestige, which is a movie that came out 15 years ago, so hopefully you've already seen it. Show Notes: Derek DelGaudio's In and Of Itself: https://store.cineplex.com/Product/derek-delgaudios-in-of-itself "The Sorcerer's Apprentice" from Walt Disney's Fantasia "Waiting for a Miracle" by Yes Nice (about the artist Bas Jan Ader) Consciousness Explained by Daniel Dennett: https://en.wikipedia.org/wiki/Consciousness_Explained The American Barbecue Showdown: https://en.wikipedia.org/wiki/The_American_Barbecue_Showdown The Hurt Locker: https://en.wikipedia.org/wiki/The_Hurt_Locker The Inoperative Community by Jean-Luc Nancy: https://www.upress.umn.edu/book-division/books/the-inoperative-community Music: Theme Music: "What u Thinkin? (Instrumental)" by Wataboi on Pixabay Intermission Music: "Lazy Morning" by Tim Moor on Pixabay

Médecine au carrefour des sciences émission présentée par José Cohen et Philippe Grimbert, professeurs des universités, praticiens hospitaliers, université Paris-Est-Créteil. Ils reçoivent Jean-Luc Nancy, philosophe, pour son livre « Un trop humain virus » paru aux éditions Bayard À propos du livre : «Un trop humain virus» paru aux éditions Bayard L'Europe, depuis 1945, avait exporté ses guerres. Elle importe aujourd'hui une épidémie qui sème la confusion. Le coronavirus, produit de la mondialisation, déclenche une mécanique de forces techniques, économiques, dominatrices et du même coup remet en question le modèle de croissance. Cette crise sanitaire provient de nos conditions de vie, d'alimentation et d'intoxication. Ce qui était « divin » est devenu humain - trop humain comme dit Nietzsche. La loupe virale grossit les traits de nos contradictions et de nos limites. C'est un principe de réel qui cogne à notre porte. La mort, que nous avions exportée avec les guerres, elle que nous pensions confinée à quelques autres virus et aux cancers, la voilà qui nous guette au coin de la rue. Nous nous découvrons humains, mais sûrement ni surhumains ni transhumains. Trop humains ? Ou bien ne faut-il pas comprendre qu'on ne peut jamais l'être trop ? Une puissante et salutaire réflexion du plus grand philosophe français. Jean-Luc Nancy est philosophe, professeur émérite à l'Université des Sciences humaines de Strasbourg. Il a enseigné à l'Université de Californie (San Diego) et dans les Universités d'Irvine, Berkeley et Berlin. Proche de Derrida, il est l'auteur d'une oeuvre très importante et a publié des dizaines d'ouvrages.

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida’s late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida’s work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida’s thought along these lines with similar concerns of Jean-Luc Nancy’s. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other’s singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this episode, I interview Kas Saghafi, associate professor of philosophy at the University of Memphis, about his book The World After the End of the World, published through SUNY Press in 2020. In this book, Kas Saghafi argues that the notion of “the end the world” in Derrida's late work is not a theological or cosmological matter, but a meditation on mourning and the death of the other. He examines this and several other tightly knit motifs in Derrida's work: mourning, survival, the phantasm, the event, and most significantly, the term salut, which in French means at once greeting and salvation. An underlying concern of The World after the End of the World is whether a discourse on salut (saving, being saved, and salvation) can be dissociated from discourse on religion. Saghafi compares Derrida's thought along these lines with similar concerns of Jean-Luc Nancy's. Combining analysis of these themes with reflections on personal loss, this book maintains that, for Derrida, salutation, greeting, and welcoming is resistant to the economy of salvation. This resistance calls for what Derrida refers to as a “spectro-poetics” devoted to and assigned to the other's singularity. Britt Edelen is a Ph.D. student in English at Duke University. He focuses on modernism and the relationship(s) between language, philosophy, and literature. You can find him on Twitter or send him an email. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Jorge Fontevecchia en entrevista con el filósofo francés

Jorge Fontevecchia en entrevista con el filósofo francés

Valeska Grisebach's Western (2017) transposes many of the iconographies and thematics of the western genre to the setting of a contemporary border town between Bulgaria and Greece, where a group of German construction workers build a hydro-electric plant. Their presence stirs up contemporary and historically layered tensions which are exacerbated by the communication barriers between the groups. This leads to a familiar, male driven tribalism, which one of the Germans, the stoic Meinhard (played by first time actor Meinhard Neumann), looks to navigate. In this episode, we are joined by Dr Hannah Paveck whose article in Film-Philosophy Journal - Taciturn Masculinities: Radical Quiet and Sounding Linguistic Difference in Valeska Grisebach's Western - considers the relationship between film sound, gender and settler colonialism. We talk about her use of Jean-Luc Nancy and Eugenie Brinkema to explore how the film undermines the codings of silence associated with the heroic male hero. Furthermore, she discusses the film in the context of geopolitics and the aesthetics of art-cinema particularly the Berlin School, to which Grisebach is associated along with filmmakers such as Angela Schanelec and Christian Petzold. Neil and Dario also talk about the writing processes they are currently involved in, their processes of work, how they approach different styles and the difficulties of moving between academic writing, journalism and blogging, particularly when the expectations from publishers and reviewers for each, can be very different. You can listen to The Cinematologists for free, wherever you listen to podcasts: click here to follow. We also produce an extensive monthly newsletter and bonus/extended content that is available on our Patreon page: https://www.patreon.com/cinematologists. You can become a member for only $2.50. We also really appreciate any reviews you might write about the show (please send us what you have written and we'll mention it) and sharing on Social Media is the lifeblood of the podcast so please do that if you enjoy the show. Music Credits: ‘Theme from The Cinematologists’ Written and produced by Gwenno Saunders. Mixed by Rhys Edwards. Drums, bass & guitar by Rhys Edwards. All synths by Gwenno Saunders. Published by Downtown Music Publishing.  

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy's War and Peace and a model for revolutionary organization in Chernyshevsky's What Is To Be Done?. Only Among Women also traces how women's community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women's community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?. Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?. Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?. Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?. Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

In Only Among Women: Philosophies of Community in the Russian and Soviet Imagination, 1860–1940 (Northwestern University Press, 2019), Anne Eakin Moss examines idealized relationships between women in Russian literature and culture from the age of the classic Russian novel to socialist realism and Stalinist film. Her book reveals how the idea of a community of women—a social sphere ostensibly free from the taint of money, sex, or self-interest—originates in the classic Russian novel, fuels mystical notions of unity in turn-of-the-century modernism, and finally assumes a place of privilege in Stalinist culture, especially cinema. Rethinking the significance and surprising continuities of gender in Russian and Soviet culture, Eakin Moss relates this tradition to Western philosophies of community developed by thinkers from Jean-Jacques Rousseau to Jean-Luc Nancy. She shows that in the 1860s friendship among women came to figure as an organic national collectivity in works such as Tolstoy’s War and Peace and a model for revolutionary organization in Chernyshevsky’s What Is To Be Done?. Only Among Women also traces how women’s community came to be connected with new religious and philosophical notions of a unity transcending the individual at the fin-de-siècle. Finally, in Stalinist propaganda of the 1930s, the notion of women’s community inherited from the Russian novel reemerged in the image of harmonious female workers serving as a patriarchal model for loyal Communist citizenship. Anne Eakin Moss is an assistant professor in the Department of Comparative Thought and Literature at Johns Hopkins University. Colleen McQuillen is an associate professor in the Department of Slavic Languages and Literatures at the University of Southern California.Follow her on Twitter @russianprof Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm

Wie schaffen wir es, Demokratie so zu gestalten, dass sie möglichst offene Zukünfte erzeugt? Rahel Süß zu provozierter Demokratie. Shownotes Website von Rahel Süß: http://rahel-suess.com/ Rahel Süß auf Twitter: https://twitter.com/rahelsuess Rahel Süß ist Mitherausgeberin des engagée Journal: http://www.engagee.org/; https://twitter.com/engagee_journal "Demokratie und Zukunft. Was auf dem Spiel steht" (2020) von Rahel Süß: https://www.konturen.cc/buecher/demokratie-und-zukunft/ Rahels neues Buch "LA POLITIQUE DE LA PROVOCATION" (französisch, ab April 2021): http://www.eterotopiafrance.com/catalogue/la-politique-de-la-provocation/ "The Politics of Provocations Against Hostile Institutions" (2020) von Rahel Süß und Alessio Kolioulis: https://breakline.studio/projects/hostile-democracy "Demokratie ist radikaler Experimentalismus" (2019) von Rahel Süß, in: https://www.transcript-verlag.de/978-3-8376-5016-7/making-democracy-aushandlungen-von-freiheit-gleichheit-und-solidaritaet-im-alltag/ "Elemente einer radikalen Demokratietheorie des Experiments" (2019) von Rahel Süß, in: https://www.transcript-verlag.de/978-3-8376-4879-9/handbuch-poststrukturalistische-perspektiven-auf-soziale-bewegungen/ "Provozierte Demokratie" (2020) von Rahel Süß, erschienen im engagée Journal: http://rahel-suess.com/provoked-democracy.html (ganzer Artikel online)   In der Episode erwähnt: Wendy Brown, mit Bezug auf ihr Buch "Die schleichende Revolution. Wie der Neoliberalismus die Demokratie zerstört" (2018): https://www.suhrkamp.de/buecher/die_schleichende_revolution-wendy_brown_58681.html Wiki zu Wendy Brown: https://de.wikipedia.org/wiki/Wendy_Brown_(Politikwissenschaftlerin) Zygmunt Bauman, mit Bezug auf sein Buch "Retrotopia" (2017): https://www.suhrkamp.de/buecher/retrotopia-zygmunt_bauman_7331.html Wiki zu Zygmunt Bauman: https://de.wikipedia.org/wiki/Zygmunt_Bauman Wiki zu Claude Lefort: https://de.wikipedia.org/wiki/Claude_Lefort Website von Extinction Rebellion: https://rebellion.global/ Website von Fridays for Future: https://fridaysforfuture.org/ Wiki und Website zu Barcelona en Comú: https://de.wikipedia.org/wiki/Barcelona_en_Com%C3%BA; https://barcelonaencomu.cat/ Wiki zu Citizens' Convention for Climate (erwähnt als Citizens' Assembly) in Frankreich: https://en.wikipedia.org/wiki/Citizens_Convention_for_Climate Wiki zu Deliberation: https://de.wikipedia.org/wiki/Deliberation Wiki zu Deliberativer Demokratie: https://de.wikipedia.org/wiki/Deliberative_Demokratie Jean-Luc Nancy, mit Bezug auf sein Buch "Wahrheit der Demokratie" (2009): http://www.passagen.at/cms/index.php?id=62&isbn=9783851659054&L=0 Wiki zu Jean-Luc Nancy: https://de.wikipedia.org/wiki/Jean-Luc_Nancy   Weitere Future Histories Episoden: Episode 29 mit Thorsten Thiel zu Demokratie in der digitalen Konstellation: https://www.futurehistories.today/episoden-blog/s01/e29-thorsten-thiel-zu-demokratie-in-der-digitalen-konstellation/ Episode 25 mit Joseph Vogl zur Krise des Regierens: https://www.futurehistories.today/episoden-blog/s01/e25-joseph-vogl-zur-krise-des-regierens/ Episode 18 mit Simon Schaupp zu Kybernetik und radikaler Demokratie: https://www.futurehistories.today/episoden-blog/s01/e18-simon-schaupp-zu-kybernetik-und-radikaler-demokratie/   Wenn euch Future Histories gefällt, dann erwägt doch bitte eine Unterstützung auf Patreon: https://www.patreon.com/join/FutureHistories? Schreibt mir unter office@futurehistories.today und diskutiert mit auf Twitter (#FutureHistories): https://twitter.com/FutureHpodcast oder auf Reddit https://www.reddit.com/r/FutureHistories/ www.futurehistories.today   Episode Keywords: #FutureHistories, #Podcast, #RahelSüß, #Demokratie, #DemokratieUndZukunft, #demokratischeProvokation, #DemokratisierungDerZukunft, #Interview, #Society, #gesellschaftlicheTeilhabe, #Jean-LucNancy, #ZygmuntBauman, #WendyBrown, #ClaudeLefort, #CitizensAssembly, #Deliberation, #deliberativeDemokratie, #Demokratietheorie, #radikaleDemokratie, #engageeJournal  

durée : 00:44:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - Février 2009, Jean-Luc Nancy était l'invité d'Alain Veinstein. Il parlait d'amour, du christianisme, de la démocratie et de l'humanisme. - réalisation : Virginie Mourthé - invités : Jean-Luc Nancy Philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg

Miranda presenta "Envoltorio", su segundo disco, donde plantea la finitud de los cuerpo y la infinidad del alma y del nucleo central. “El cuerpo es una envoltura: sirve para contener lo que luego hay que desenvolver. La piel es una envoltura finita hecha para contener la infinidad de sucesos que transcurren dentro”. Fragmento del autor Jean Luc-Nancy, fue su inspiracion en la creacion de este disco que te seduce, te insipira y te relaja. Gracias Miranda! Por Luli y Emi Fantacone.

durée : 00:39:14 - Le Temps du débat - par : Emmanuel Laurentin, Chloë Cambreling - En rendant toute prédiction caduque, la période que nous traversons a chamboulé notre rapport au temps et à la vérité. Mais n’avions-nous pas vécu jusqu'alors dans trop de certitudes ? Les philosophes Ilaria Gaspari et Jean-Luc Nancy explorent ensemble quel sens donner au présent qu’il nous reste. - réalisation : Alexandre Manzanares - invités : Jean-Luc Nancy Philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Ilaria Gaspari Docteure en Philosophie de l’Université Paris 1 Panthéon Sorbonne, autrice de "Leçons de bonheur" (PUF, 2020).

Actualidade  diversa nas  ediçéoes  desta  quarta-feira   dos  diários  franceses, com destaques como a  situação política nos  Esstados  Unidos,  a  relação entre  a  Europa, os  Estados  Unidos  e a  China,  os novos  focos  da  Covid-19  na  Europa,  a  insatisfação da  oposição  maliana  perante  a  solução  proposta  pela  CEDEAO  para um desfecho da  crise no  país  africano, a   homenagem  à  Gisèle  Halimi, advogada  e  pioneira  da luta pelos direitos das  mulheres  em França e a história  frágil  do mundo de  hoje a  corrigir pelo filósofo Jean-Luc Nancy,  estão entre os destaques.  

Que nous arrive-t-il ? Qu’est-ce qu’une crise ? A quel(s) deuil(s) avons-nous été exposés en ce printemps 2020 ? Qu’est-ce que le Covid fait à nos corps qui ne se touchent presque plus et à nos visages qui sont bien souvent masqués ? Qu’est-ce qu’elle a de philosophique, cette période que nous venons de traverser ? A quoi, à qui nous pousse-t-elle à penser ? Ces questions, elles nous occupent depuis le mois de mars. Au fil des semaines, des philosophes et des intellectuels sont venus y répondre, dans ce magazine. Ce dimanche, nous allons à nouveau les écouter, au cœur d’un florilège philosophique. Avec Claire Marin (philosophe), Alexandre Lacroix (directeur de la rédaction du Philosophie Magazine), Boris Cyrulnik (neuropsychiatre), Jean-Michel Longneaux (philosophe), Frédéric Boyer (écrivain, traducteur et éditeur), Jean-Luc Nancy (philosophe), Corine Pelluchon (philosophe), François Jullien (philosophe, helléniste et sinologue), Martin Legros ( rédacteur en chef du Philosophie Magazine) et Pascal Chabot (philosophe). Dans notre Grand dictionnaire, avec Jean-Philippe Schreiber, professeur à l’ULB, nous nous focalisons sur Ernest Renan, philosophe français du 19ième siècle, historien des religions.

durée : 00:37:51 - Le Temps du débat - par : Emmanuel Laurentin, Chloë Cambreling - La crise du coronavirus semble avoir remis au cœur des débats la notion de "souveraineté". Mais tout le monde parle-t-il de la même chose ? Emmanuel Macron, lui, défend à la fois un renforcement de la souveraineté nationale et de la souveraineté européenne. Est-ce compatible, est-ce souhaitable ? - réalisation : Thomas Dutter, Assia Khalid, Alexandre Manzanares - invités : Céline Spector philosophe, professeure à l’UFR de Philosophie de Sorbonne Université; Jean-Luc Nancy philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Coralie Delaume Essayiste, collabore à Marianne

durée : 00:37:51 - Le Temps du débat - par : Emmanuel Laurentin, Chloë Cambreling - La crise du coronavirus semble avoir remis au cœur des débats la notion de "souveraineté". Mais tout le monde parle-t-il de la même chose ? Emmanuel Macron, lui, défend à la fois un renforcement de la souveraineté nationale et de la souveraineté européenne. Est-ce compatible, est-ce souhaitable ? - réalisation : Thomas Dutter, Assia Khalid, Alexandre Manzanares - invités : Céline Spector philosophe, professeure à l’UFR de Philosophie de Sorbonne Université; Jean-Luc Nancy philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Coralie Delaume Essayiste, collabore à Marianne

Season 18, Episode 2. Ngaji Filsafat - Dr. Fahruddin Faiz Martin Heidegger (lahir di Meßkirch, Jerman, 26 September 1889 – meninggal 26 Mei 1976 pada umur 86 tahun) adalah seorang filsuf asal Jerman. Ia belajar di Universitas Freiburg di bawah Edmund Husserl, penggagas fenomenologi, dan kemudian menjadi profesor di sana 1928. Ia memengaruhi banyak filsuf lainnya, dan murid-muridnya termasuk Hans-Georg Gadamer, Hans Jonas, Emmanuel Levinas, Hannah Arendt, Leo Strauss, Xavier Zubiri dan Karl Löwith. Maurice Merleau-Ponty, Jean-Paul Sartre, Jacques Derrida, Michel Foucault, Jean-Luc Nancy, dan Philippe Lacoue-Labarthe juga mempelajari tulisan-tulisannya dengan mendalam. Selain hubungannya dengan fenomenologi, Heidegger dianggap mempunyai pengaruh yang besar atau tidak dapat diabaikan terhadap eksistensialisme, dekonstruksi, hermeneutika dan pasca-modernisme. Ia berusaha mengalihkan filsafat Barat dari pertanyaan-pertanyaan metafisis dan epistemologis ke arah pertanyaan-pertanyaan ontologis, artinya, pertanyaan-pertanyaan menyangkut makna keberadaan, atau apa artinya bagi manusia untuk berada. Heidegger juga merupakan anggota akademik yang penting dari Nationalsozialistische Deutsche Arbeiterpartei.

Invité de la rédaction : Perrine Simon-Nahum interviewe Adèle Van Reeth philosophe, productrice de radio et chroniqueuse, pour son livre « La Vie ordinaire » paru chez Gallimard À propos du livre : « La Vie ordinaire » Paru aux éditions Gallimard "La vie ordinaire est une vie d'hypocrite. On fait comme si c'était "déjà ça" de vivre "tranquillement", comme si on ne voulait pas d'aventure. Comme s'il suffisait de se la couler douce dans les plis du laisser-être pour atteindre la tranquillité tant recherchée. Sauf que la plupart du temps, on n'y arrive pas. Puisque l'existence humaine est à la fois provisoire et continue, puisque rien ne dure et que le temps ne se retient pas, la tranquillité n'est pas de ce monde. Et c'est tant mieux. Que le dard de l'intranquillité vous pique encore et encore ! Demandez-vous, au moins une fois, si le nombre d'années parcourues, les épreuves et les angoisses endurées, si vous avez vécu tout ça pour vous réfugier dans la mauvaise foi de l'émerveillement ordinaire, sans jamais vouloir fouiller en dessous, remuer la vase qui étouffe vos désirs et vous fait croire qu'être quelqu'un, c'est peser lourd, et s'accrocher aux horaires comme si la vie en dépendait". Adèle Van Reeth est une philosophe, productrice de radio et chroniqueuse française. Elle intègre une classe préparatoire littéraire où elle prépare le concours d'entrée à l'École normale supérieure. Une fois admise, elle part en deuxième année étudier à l'Université de Chicago. Spécialiste en philosophie du cinéma, ancienne élève de l'École normale supérieure de Fontenay-Saint-Cloud (promotion 2005), elle travaille et intervient sur la question de l'ordinaire à partir notamment des travaux du philosophe Stanley Cavell. Depuis septembre 2011, elle produit et anime l'émission quotidienne de philosophie Les Nouveaux Chemins de la connaissance. En décembre 2012, cette émission devient la plus téléchargée du groupe Radio France, et maintient ponctuellement cette position. Après avoir participé à l'émission "Ça balance à Paris" en 2011 et collaboré à "Philosophie magazine" (2010-2012), elle est chroniqueuse régulière pour l'émission Le Cercle, présentée par Frédéric Beigbeder sur Canal+ Cinéma. En mars 2014, elle lance une collection intitulée "Questions de caractère" (co-édition Plon / France Culture) : elle dialogue avec des philosophes contemporains en gardant l'esprit et la démarche de son émission. Le premier volume, coécrit avec Jean-Luc Nancy, porte sur la jouissance, thème sur lequel elle est déjà intervenue à plusieurs reprises. Le 19 décembre 2017, il est annoncé qu'Adèle Van Reeth prend la suite de Jean-Pierre Elkabbach et animera à la rentrée 2018 la nouvelle émission littéraire de Public Sénat, toujours enregistrée dans la Bibliothèque du Sénat. Twitter : https://twitter.com/adelevanreeth?lang=fr 

Ils ont été élus, mais pas pour ça. Aucun dirigeant des démocraties occidentales ne s'attendait à devoir faire face à une crise comme la pandémie de coronavirus. Tous s'y sont attelés avec des moyens, des discours et des résultats très variables en termes sanitaires, mais tous font face à des conséquences politiques plus ou moins importantes en termes de popularité.Emmanuel Macron en France, Donald Trump aux États-Unis ou Boris Johnson au Royaume-Uni perdent des points dans les sondages. Des préoccupations qui touchent évidemment moins les dirigeants autoritaires. Le coronavirus affaiblit-il les dirigeants des démocraties et les démocraties elles-mêmes ? C'est la question du jour.  Pour en débattre :- Jean-François Bouthors, essayiste, journaliste, collaborateur de la revue Esprit,  éditorialiste à Ouest-France. Co-auteur avec le philosophe Jean-Luc Nancy de "Démocratie ! Hic et Nunc" aux éditions François Bourin et aussi d'une tribune dans le journal Le monde, Coronavirus : « Seule la démocratie peut nous permettre de nous accommoder collectivement de la non-maîtrise de notre histoire »- Vincent Martigny, professeur en science politique à l'Université de Nice et l’École Polytechnique, chercheur associé au CEVIPOF, membre du Comité de rédaction de la revue trimestrielle Zadig et du 1 hebdo. Auteur de nombreux livres, dont le "Retour du prince", aux éditions Flammarion.

La vie peut être féroce. C’est ce que vient brutalement nous rappeler le Covid-19. Et pour l’écrivain et traducteur Frédéric Boyer « Il faudrait prendre notre vulnérabilité politiquement au sérieux ». Il l’écrit dans « Sic transit gloria mundi » (Tracts de crise/ Gallimard). Nos peaux se touchent peu, en ces temps de confinement. Qu’est-ce qu’une peau ? Et s’il existait une peau du monde ? C’est le philosophe du corps Jean-Luc Nancy qui nous répondra. Il signe « La peau fragile du monde » (Galilée). Frédéric Boyer et Jean-Luc Nancy sont les invités de ce nouveau numéro confiné de votre magazine « Et dieu dans tout ça ? ».

Reflecting on glitchy voices, and what it means to respond to vocal authority; a vocal exercise from Prof. Stan Brown (Northwestern); and brief reading from "Listening" by Jean-Luc Nancy. CUE TIMES (start of each section): 1:14 [scholarly reflection] // 9:12 [exercise] // 18:32 [theory] | https://masiasare.com/podcast

A pandemia escancara a contradição entre vida e capital, e os diferentes países vêm tomando suas próprias medidas, alguns deles, jogando com a vida em nome da economia. Várias análises têm sido feitas sobre a conjuntura atual. Para alguns pensadores, como é o caso do filósofo Slavoj Žižek, estaríamos vivenciando um golpe mortal ao capitalismo e seria tempo de reinventar o comunismo. Para outros, como é o caso de Byung-chul Han, a saída da crise do coronavírus poderia levar-nos a um maior autoritarismo, com a exportação do modelo chinês de controle social ao ocidente. Para pensar a crise do coronavírus e o futuro do neoliberalismo, nesse episódio contamos com a participação de Alfredo Saad-Filho (doutor em Economia pela Universidade de Londres e professor de Política Econômica e Desenvolvimento Internacional no King´s College London) e Danilo Martuscelli (doutor em Ciência Política pela Unicamp, professor de Ciência Política da Universidade Federal da Fronteira Sul-UFFS e editor do blog marxismo21). No episódio também divulgamos o resultado do sorteio do livro “A potência feminista” de Verônica Gago, publicado no Brasil pela Editora Elefante. Apresentação: Cristina Cavalcante / Divulgação do Sorteio: Fernanda Paixão / Edição: Antônio Ferreira / Músicas: Banda Soultik Para mergulhar nos temas do episódio: Sopa de Wuhan, pensamiento contemporáneo en tiempos de pandemia. Editorial ASPO. O livro traz artigos de Giorgio Agamben, Slavoj ŽiŽek, Jean Luc Nancy, Franco “Bifo” Berardi, Santiago López Petit, Judith Butler, Alain Badiou, David Harvey, Byung-Chul Han, Raúl Zibechi, María Galindo, Markus Gabriel, Gustavo Yañez González, Patricia Manrique e Paul B. Preciado. https://drive.google.com/file/d/1tShaH2j5A_9n9cWl6mhxtaHiGsJSBo5k/view?fbclid=IwAR2yyZXK3w5riZKujJpkfIAicceOCQnHQKtlnQkuDzHW3aUja8CYenWI_lg Katz, Claudio. Um detonador da crise potencializado pelo lucro: https://katz.lahaine.org/b2-img/Umdetonadordacrisepotencializadopelolucr.pdf Katz, Claudio. El imprevisto gatillo de un viraje económico. https://katz.lahaine.org/b2-img/ELIMPREVISTOGATILLODEUNVIRAJEECONMICO.pdf Naomi Klein: “La gente habla sobre cuándo se volverá a la normalidad, pero la normalidad era la crisis”: https://www.elsaltodiario.com/coronavirus/entrevista-naomi-klein-gente-habla-volver-normalidad-crisis-doctrina-shock Músicas Soultik, Colectivo Imaginario: https://www.youtube.com/watch?v=dAfatbd4mVE Soultik, Laberinto: https://www.youtube.com/watch?v=9BJUxXz0b4w

Aux origines de la modernité (1/7) - Jean-Luc Nancy,Emmanuel Levine,Milo Lévy-Bruhl,Jean-François Bouthors

Death Series, Episode #4 of 4. If you were fluent in French and mingling at a French dinner party and your snooty acquaintance Genevieve likened the champagne she was sipping to la petite mort, you would know that she meant that the champagne, with it’s bubbly joy filling your nose and head, was orgasmic. But… why would you know that? “La petite mort” translates to something approximating “the little death.” That isn’t the most obvious of analogies for the glorious eruption that is an orgasm. We wanted to know more about la petite mort, so this episode is an investigation of the history of language, sexology, and indeed, orgasming, from the ancient world to the modern. Let’s plunge...erhm, dig, in. For the complete transcript and more episodes like this one, visit digpodcast.org. Bibliography: Peter Brooks, Realist Vision (Yale University Press, 2005). Lizzie Crocker, “Virginia Johnson, The Woman Who Discovered The Elusive Multiple Orgasm,” The Daily Beast (1 Sep 2017) Peter L Hays, “Sex, Death, and Pine Needles in ForWhom the Bells Tolls,” The Explicator, 69:1, 16-19 Max Kenneth, “The Philology of the Orgasm,” Nassau Weekly, February 9, 2005 (This is not actually very good, because it’s based on an assumption that the French word for orgasm is petite mort, but that’s not the common phrase in French) Dara Lind, “9 Shakespeare innuendoes you should have been embarrassed to read in English class,” Vox, Apr 22, 2016  William Masters and Virginia Johnson, Human Sexual Response (Boston: Little Brown and Company, 1966). Robert Muchembled, Orgasm and the West: a history of pleasure from the sixteenth century to the present (Malden, MA : Polity Press, 2008). Jean-Luc Nancy, Adèle Van Reeth, and Charlotte Mandell, Coming, (Fordham University Press, 2016) Christopher Prendergast, Balzac: Fiction and Melodrama, (London: Edward Arnold Ltd, 1978). Graham Robb, Balzac: A Biography, (New York: W. W. Norton & Company). James Steintrager, The Autonomy of Pleasure : Libertines, License, and Sexual Revolution (New York: Columbia University Press, 2016). “Benefits of love and sex,” National Health Service Victor Hugo’s eulogy for Honoré de Balzac Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:34:35 - La Grande table idées - par : Olivia Gesbert, Maja Neskovic - Qu'est-ce que la démocratie et quelles opportunités de renouveau dans la mutation qu'elle traverse? Avec Jean-François Bouthors, éditeur, journaliste et essayiste, et Jean-Luc Nancy, philosophe, auteurs de "Democratie ! Hic et Nunc" (Editions François Bourin, octobre 2019). - réalisation : Eric Lancien, Gilles Blanchard - invités : Jean-Luc Nancy philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Jean-François Bouthors Journaliste, collaborateur de la revue Esprit et éditorialiste à Ouest-France

durée : 00:32:04 - Talmudiques - par : Marc-Alain Ouaknin - Suite des échanges avec Jean-Luc Nancy et Jean-François Bouthors, à propos de leur ouvrage "Démocratie ! Hic et nunc". - réalisation : Dany Journo - invités : Jean-Luc Nancy philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Jean-François Bouthors Journaliste, collaborateur de la revue Esprit et éditorialiste à Ouest-France

durée : 00:32:46 - Talmudiques - par : Marc-Alain Ouaknin - . - réalisation : Dany Journo - invités : Jean-Luc Nancy philosophe, professeur émérite à l’Université des Sciences humaines de Strasbourg; Jean-François Bouthors Journaliste, collaborateur de la revue Esprit et éditorialiste à Ouest-France

La pelle è esposizione del corpo al mondo, nostro primo legame con esso. Qual è il paradosso del corpo esposto dalla pelle?

This lecture will consider memoirs and essays written about events that are still unfolding. How can you tell a story when you don't know how it will end? How can you write about yourself when your relationship to time, memory, language, the body, and the self are changing? We'll discuss memoirs from the middle of things by authors such as Laura Hillenbrand, Caren Beilin, Audre Lorde, Jean-Luc Nancy, Kazim Ali, Lily Hoang, and others. We'll ask how close attention to thresholds, brinks, and passing moments can lead to lasting discoveries.

En la emisión Nº12 de #DemasiadoHumano de la temporada 2019 hablamos del vestir. Le pedimos a les oyentes que nos respondan ¿Cuál es esa prenda especial de tu placard? ¿Por qué? Entrevistamos a la socióloga Daniela Lucena sobre el tema del día y nos dijo: “Cuando elegimos la ropa que usamos estamos volviendo el cuerpo legible. Eso nos permite pensar que la moda puede ser un lenguaje que reproduzca lo mismo o un lenguaje que fugue, y cree nuevos sentidos." Analizamos la película “Zoolander” y como siempre charlamos sobre libros. En esta edición: “Cuentos completos” de Silvina Ocampo @PlanetaLibrosAr y los textos de “58 indicios sobre el cuerpo” de Jean Luc Nancy publicados por Editorial La Cebra

En la emisión Nº12 de #DemasiadoHumano de la temporada 2019 hablamos del vestir. Le pedimos a les oyentes que nos respondan ¿Cuál es esa prenda especial de tu placard? ¿Por qué? Entrevistamos a la socióloga Daniela Lucena sobre el tema del día y nos dijo: “Cuando elegimos la ropa que usamos estamos volviendo el cuerpo legible. Eso nos permite pensar que la moda puede ser un lenguaje que reproduzca lo mismo o un lenguaje que fugue, y cree nuevos sentidos." Analizamos la película “Zoolander” y como siempre charlamos sobre libros. En esta edición: “Cuentos completos” de Silvina Ocampo @PlanetaLibrosAr y los textos de “58 indicios sobre el cuerpo” de Jean Luc Nancy publicados por Editorial La Cebra

In jeweils einem Impulsreferat und dem anschließenden Podiumsgespräch gingen der französische Philosoph Prof. Dr. Jean-Luc Nancy (Universität Straßburg) und der Ministerpräsident MdL Winfried Kretschmann der Frage nach, was es bedeuten könnte, den Krieg tatsächlich zu überwinden und an einer Kultur des Friedens zu arbeiten. Sie bauten dabei verschiedene Brücken, zwischen Frankreich und Deutschland, Straßburg und Stuttgart, aber auch zwischen der Philosophie und der Politik. Moderation: Dr. Felix Heidenreich (IZKT) Ein Kooperationsprojekt des IZKT der Universität Stuttgart, des Institut français, dem Hospitalhof und dem Literaturhaus Stuttgart.

Jouir de la vie, est-ce résister ? Et en particulier pour nous, les femmes, encore trop souvent confrontées à la double journée et à des quotidiens de plus en plus contraints ? Adèle Van Reeth est l’une des rares philosophes actuelles à penser le corps, et la façon dont le plaisir et la jouissance déterminent aujourd’hui en grande partie notre rapport au monde. Grande voix de la radio, cette normalienne de 36 ans produit et anime l’émission la plus podcastée de France Culture, «Les Chemins de la philosophie»*, téléchargée par 3 millions d’auditeurs chaque mois. Portée par un esprit affûté et une énergie radieuse, elle pilote aussi l’émission «Livres & vous» sur Public Sénat. Et cette rentrée, elle a pris les rênes du magazine «D’Art D’Art» sur France 2. C’est surtout pour son livre précieux et audacieux, dédié à La Jouissance (Ed. Plon), et co-écrit avec le philosophe Jean-Luc Nancy, qu’Adèle Van Reeth témoigne dans ce podcast. Vous pouvez écouter Désirs sur le site Madame Figaro, Apple Podcast, Soundcloud, Spotify, Deezer, YouTube ou via son flux RSS. Et suivre toute l’actualité de nos podcasts sur Facebook, Instagram et Twitter.  Désirs est proposé en partenariat avec Yves Saint Laurent Beauté. Pendant près de 40 ans, Monsieur Saint Laurent a mis son talent au service des femmes contribuant, à travers son œuvre, à leur émancipation. Dans son sillage, la beauté Yves Saint Laurent nourrit cette histoire d’amour avec les femmes en imposant des créations mues par l’audace, le désir, la jeunesse et l’avant-garde.

Può essere veritiera, la bugia? La verità è sia agente attivo della filosofia che sua linea di fuga, in relazione alla menzogna, al segreto e all'invenzione stessa della verità.

Può essere veritiera, la bugia? La verità è sia agente attivo della filosofia che sua linea di fuga, in relazione alla menzogna, al segreto e all'invenzione stessa della verità.

In this episode of TCM, Preston Price and Matt Baker speak with Christopher Rodkey, United Church of Christ pastor and religious educator, professor, and author. He is pastor of St. Paul's United Church of Christ in Dallastown, Pennsylvania, and teaches at Penn State York, York College of Pennsylvania, and Lexington Theological Seminary. You can check out his author page on Amazon here. The Global Center for Advanced Studies is hosting a 3 part live and interactive Seminar on Deleuze: Dismantling Reactive Institutions with Deleuze: Theory and Practice, that will be led by Keith Faulkner. If you enroll by Sunday March 11th and mention "thecatacombicmachine" you can receive a 20% discount on the seminar. For details email . Sign up here. Additional details here. Intro In the popular 1984 film The Neverending Story, the protagonist, a young boy of around twelve years old named Bastian is chased by a group of bullies and manages to escape his pursuers by quickly ducking into a bookstore. Inside, he discovers an oversized leather-bound book, into the cover of which is set a large occultish-looking medallion composed of twin interlocking serpents. Bastian seizes this book and later hides himself in an attic where he begins to read aloud. We are transported to a fantastic world, named somewhat unimaginatively “Fantasia” wherein we encounter a slew of creatures: gnomes, dragons, giant tortoises, characters who are made of rock, and so on; all of whom we soon discover are threatened by an amorphous and terrifying force called the “Nothing”. The Nothing is an abstract concept represented on-screen as a thrashing storm that engulfs entire sections of Fantasia in a black wave of despair that drains life of joy and hope before rendering it meaningless by wiping clear the entire horizon, leaving nothing in its wake. Although this threatening force might be most accurately described as the the possibility of non-existence - and indeed, one New York Times reviewer wrote that the film sounded to him like “The Pre-Teenager's Guide to Existentialism,” - one may still hear echoes of Nietzsche's well-known parable in which the madman leaps into the marketplace pronouncing the death of God, asking “who gave us the sponge to wipe away the entire horizon? Are we not straying as through an infinite nothing?” The seriousness of the threat notwithstanding, we should perhaps not worry too long given the title of the film. The story never ends, and in fact, its success spawned a series of painfully unfortunate sequels. And so it is with Christianity. As the film progresses, Atreyu, Bastian's co-protagonist approaches the Southern Oracle, colossal twin sphinxes, beyond which he must pass in order to complete his quest. It is perhaps of some interest to note the Sphinx is typically depicted in legend as a guardian figure placed before a threshold or passage. Often found in pairs, they communicate to the uninitiated that beyond lies knowledge forbidden to all but those few deemed worthy, and that those who would dare transgress this limit, do so under the threat of death. And so, in Atreyu's footsteps we approach the Oracle with a mixture of wonder and terror. With each terrifying step these monstrous figures appear to grow larger before us, their wings stretching out to overtake the sky. With intensity we scan their solemnly closed eyes, for any indication they might open and destroy us with their deathly gaze. Were we to allow our imaginations at this point to wander freely, we might imagine these titanic twin figures as Alpha and Omega, first and final cause, standing in both eternal accord and opposition. Is not their very polarity that which secures the intelligibility of the world? So conceived, these guardians stand as bookends in the never-ending story of Christianity and the West. The passage they guard is thus a book, one that even now opens before us, its opening made possible by its own foreclosure. In a burst of panic, we see the slit of the sphinxes eyes slowly open, and a great light streaming forth from these eyes. For but a brief moment we consider turning to flee, but it is already too late. We find ourselves transfixed, bound by this aporia even as we seek safe passage beyond its limit. Between the intersecting gaze of these beasts, we are now forced to answer their riddle: how does a line become a circle? The answer is in the book. Here is the convergence of identity, difference, and dialectic, the sign of the phoenix, the passage of Gods eternally crucified and resurrected where the death of God appears as merely the descending crest of an oscillating wave-function of the Logos. Hence the closure of the book is at once the possibility of its opening such that the line of history bends ever inward into an infinitely spiraling circuit.   Suggesting that the heart of the Western tradition is indeed a Christian heart, Clayton Crockett in his book on political theology quotes Jean-Luc Nancy who writes, “The only thing that can be actual is an atheism that contemplates the reality of its Christian origins”. He then points our attention even further toward this dilemma with the provocative question: “can Christianity be deconstructed, or is it deconstruction itself, and as such - undeconstructable?” Mary Daly provides language that, although employed in a different context, seems nonetheless appropriate here. “The wheel of “renewal”, she writes, “turns full circle. Those caught in its spokes, broken and “restored,” re-turn to embrace the very cause of their breakdown.” For those outside the walls of the Church, the language of Christianity may, as Christopher Rodkey suggests, amount to nothing, and for them this nothingness might rightly be considered a form of non-existence. We recall that in the film, it is the image of the storm that stands in for the Nothing. More malevolent than any mere Nothingness however, the more insidious threat, as Nietzsche knew, is the maelstrom of signs, images, and representations which when taken altogether in the spirit of resentment, brings about Christianity's own ultimate devaluation.   Growing weary of such navel-gazing, one may be tempted to intervene here, asking ‘and what of the other'? It may certainly be true as Charles Winquist writes, that “epistemic undecidability does not prevent or even inhibit ethical decidability,” but we may still be left reeling from the aforementioned problematic. Indeed, “Are we not plunging continually? Backward, sideward, forward, in all directions? Is there still any up or down? Are we not straying, as through an infinite nothing?” With these questions in mind, should we not simply declare along with Levinas, ethics as first philosophy? Perhaps, yes. Although we may at the same time hear another voice come echoing down from the mountain. “Unhappy do I call all those who have only one choice: either to become evil beasts, or evil beast-tamers. Amongst such would I not build my tabernacle,” so declares Zarathustra. But let us leave it there. In the ongoing quest for a “religion without religion”, we may discover as well a “politics beyond politics” such that the two crystallize into altogether new formations freed from the allure of reactive forces, where our “yes” may finally escape the gravitation of “no”. Perhaps the alighting of this yes-beyond-no must arrive finally in the language of madmen speaking with tongues of fire.

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenta un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo.

Darknet is an adaptation of the Japanese series Torihada (2010-present), and exists as something between a web series, an interactive TV anthology, and a Canadian network series. References and Further Reading Abramowitz, Rachel. Is That a Gun in Your Pocket?: Women’s Experience of Power in Hollywood. New York: Random House, 2000. Print. Barnouw, Erik. The Golden Web: A History of Broadcasting in the United States. Vol. 2. New York: Oxford UP, 1968. Print. Clover, Carol J. Men Women and Chainsaws: Gender in the Modern Horror Film. London: BFI, 1992. Print. Creed, Barbara. The Monstrous-Feminine: Film, Feminism, Psychoanalysis. London: Routledge, 1993. Print. Hamilton, Patrick. Gas Light, a Victorian Thriller in Three Acts. London: Constable, 1939. Print. Humm, Maggie. Feminism and Film. Edinburgh: Edinburgh UP, 1997. Print. Janisse, Kier-La. House of Psychotic Women: An Autobiographical Topography of Female Neurosis in Horror and Exploitation Films. Godalming, UK: Fab, 2012. Print. Jones, Norma, Maja Bajac-Carter, and Bob Batchelor. Heroines of Film and Television: Portrayals in Popular Culture. Lanham, MD: Rowman & Littelfield, 2014. Print. Kristeva, Julia. Powers of Horror: An Essay on Abjection. New York: Columbia UP, 1982. Print. Lené Hole, Kristin. Towards a Feminist Cinematic Ethics: Claire Denis, Emmanuel Levinas and Jean-Luc Nancy. Edinburgh: Edinburgh UP, 2016. Print. Rochon, Debbie. “The Legend of the Scream Queen.” GC Magazine 1999. Web. Rose, Jacqueline. Sexuality in the Field of Vision. London: Verso, 1991. Print. Short, Sue. Misfit Sisters: Screen Horror as Female Rites of Passage. New York: Palgrave Macmillan, 2006. Print. Sobchack, Vivian Carol. Carnal Thoughts: Embodiment and Moving Image Culture. Berkeley: U of California, 2004. Print. Let’s Start at the Beginning (Lee Rosevere) / CC BY-SA 4.0 Author: Geneveive Newman

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenterà un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo.

Jean-Luc Nancy, uno tra i più rilevanti pensatori della relazione con l'altro, presenterà un originale ripensamento della belligeranza del pensiero e delle armi della critica di fronte al suo svuotamento contemporaneo. Jean-Luc Nancy Le armi della critica festivalfilosofia 2016 | agonismo Sabato 17 Settembre 2016 Carpi

In casi eccezionali ma, proprio per questo, significativi, il patto implicito tra generazioni decade e l'eredità non viene raccolta, anche in senso proprio, legale, come accade con i “beni vacanti” di cui Jean-Luc Nancy propone un'interpretazione filosofica.

In casi eccezionali ma, proprio per questo, significativi, il patto implicito tra generazioni decade e l'eredità non viene raccolta, anche in senso proprio, legale, come accade con i “beni vacanti” di cui Jean-Luc Nancy propone un'interpretazione filosofica.

Lors du dernier épisode de LisezLaScience, j’avais parlé du livre de Trinh Xuan Thuan “Désir d’Infini” où il nous parlait de l’Infini, et de sa présence dans l’Histoire de l’Homme, que ce soit en philosophie, en mathématiques ou en physique et plus particulièrement en astronomie, sujet de prédilection de l’auteur.L’épisode d’aujourd’hui, le numéro 10, devait être consacré à “La Structure Des Révolutions Scientifiques” de Thomas Kuhn, mais comme j’ai pris un peu mon temps pour écrire un nouvel épisode et que le Café des Sciences a mis en place une semaine thématique sur “Le Temps”, je me suis dit qu’il serait intéressant d’y participer et de partager avec vous une de mes lectures : “Le Temps (qui passe?)” d’Étienne Klein.Étienne Klein est sûrement l’un des experts français de la question qui sache le mieux en parler autant du point de vue scientifique, mais aussi du point de vue philosophique. Dans cet ouvrage, une sorte de compte-rendu d’une conférence données à des enfants, il a décidé de répondre à des questions que ces derniers se poseraient à son propos et il y répond pour essayer d’éclairer ces chères têtes blondes sur ce sujet, un brin complexe à traiter de but en blanc :)Le temps (qui passe?) Étienne Klein crédit : Bayard http://goo.gl/Hk7x8MSommaireQuelques mots sur Étienne KleinLe livre “Le Temps (qui passe?)”Un livre qui n’a rien à voirUn livre que j’aimerais lirePlugsUn auteurÉtienne Klein By Rémy François2 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia CommonsÉtienne Klein By Rémy François2 (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia CommonsÉtienne Klein, un physicien que vous avez, si vous vous intéressez un peu à la physique, sûrement déjà entendu parler à la radio, vu à la télé, ou lu dans un livre. Vous n’avez pas pu passer à côté de lui quoi … enfin … les plus troglodytes d’entre nous ont peut-être pu passer à côté. Mais cet épisode est là pour comblé ce manque !Né en 1958 un 1er avril (et oui! Mais c’est moins ouf que Gérard Darmon qui est né un 29 février!) selon sa page wikipédia ou encore sa page chez les Presses Universitaires de France, ce jeune homme a foulé les bancs du Lycee Louis-Le-Grand et ensuite ceux de l’École Centrale de Paris avant d’obtenir son DEA de physique théorique en 1982. Directeur du Laboratoire de Recherche sur les Sciences de la Matière au CEA où il a fait toute sa carrière, il est passé maître dans le traitement de la question du temps en physique et même en philosophie! Cet expertise n’est d’ailleurs pas juste basée sur ses diplômes de physicien, mais aussi sur un doctorat en philosophie des Sciences qu’il obtint en 1999 et qui lui permet d’avoir cette double compétence. C’est une chose rare il me semble parmi les femmes et hommes de science, d’allier philosophie et science dans l’étude d’un domaine.Si l’on s’intéresse aux diverses activités d’Étienne Klein on peut notamment citer ses travaux de recherche comme ceux autour du LHC ou encore ses multiples enseignements à l’École Centrale de Paris que ce soit en physique des particules, en philosophie des sciences, ou encore en simulation pour l’INSTN.On peut aussi bien sûr citer ses autres activités comme la chronique qu’il anima sur France Culture nommée “Le monde selon Étienne Klein” ou encore son rôle en tant que membre du Conseil Scientifique de l’Office Parlementaire d’Évaluation des Choix Scientifiques et Technologiques (OPECST) et de l'Académie des Technologies et du Conseil d’Orientation de l’Institut Diderot.Mais si l’on parle de lui sur LisezLaScience c’est aussi pour ses ouvrages de science. Et de ce côté-là, on peut dire qu’il a été prolifique ! Plus d’une trentaine d’ouvrages dont certains attendent, la poussière sur leurs reluires parfaites, dans un étagère ou un chevet chez moi que je les ouvre et les lisent amoureusement. Parmi ces livres, on peut notamment citer : “Le Temps et sa flèche” (1993) dirigé conjointement avec Michel Spiro (un ouvrage reprenant les actes du colloque associé), “Les tactiques de Chronos” (2003), “Le facteur temps ne sonne jamais deux fois” (2007), “Discours sur l’origine de l’univers” (2010) ou encore “En cherchant Majorana, le physicien absolu” (2013). Concernant ce dernier livre, si vous chercher quelque chose à lire à propos de Majorana en plus, je vous propose celui écrit par le Dr Éric Simon (il faudra vraiment que je finisse de monter son interview pour un prochain épisode). Jetez-vous dessus !!!Une bonne présentation d’auteur sur LisezLaScience ne serait pas complète sans la liste des distinctions qu’Étienne Klein a reçu. Et elle est plutôt longue ! Depuis les années 1990, il a notamment reçu : le Prix Jean-Perrin de popularisation de la science de la Société Française de physique en 1997, le Prix Jean-Rostand en 2004 remis par le Mouvement Universel de la Responsabilité Scientifique pour un auteur d’ouvrage de vulgarisation scientifique en langue française, et il a aussi été nommé Officier puis Commandeur dans l’Ordre des Palmes Académiques en 2006 puis en 2014. Entre autres.Donc, c’est Étienne Klein quoi. Grosse culture, vie scientifique riche et prolifique et des ouvrages indispensables à lire si l’on souhaite en savoir un peu plus sur le temps par quelqu’un de calé dans le domaine !Un livreAvant-proposCe livre fait partie d’une collection nommée “Les petites conférences” et éditée chez Bayard. Comme expliqué dans la préface du livre d’aujourd’hui, cette collection est dirigée par Gilberte Tsaï. Auteur, metteur en scène et directrice du Centre Dramatique National de Montreuil de 2000 à 2011, elle a mis en place ces fameuses conférences pour, je cite, “Réunir grands intervenants et petits auditeurs autour de thématiques choisies telles que la beauté (Jean-Luc Nancy), le métier de grand reporter (Florence Aubenas), la mode (Marie-Josée Mondzain) ou encore l’avenir de la vie sur terre (Hubert Reeves)” comme expliqué sur le site du manège de reims concernant une “petite conférence” traitant des cinq sens avec l’écrivain Jean-Christophe Bailly.On peut d’ailleur retrouver la liste des ouvrages de cette collection sur la page associée de Bayard et il y a vraiment plein de choses intéressantes comme “A quoi sert la science?” avec Jean-Marc Lévy-Leblond, “Le fini et l’infini” d’Alain Badiou ou “La Monnaie, pourquoi?” avec Jean-Claude Trichet. Il y a encore plein d’autres choses, je vous laisse fouiller !Donc le principe de ces conférences est le suivant : une personnalité pertinente sur le domaine choisi répond à des questions d’enfants ayant plus de dix ans d’une manière qui se veut, enfin je pense que c’est l’idée, le plus simple et le plus compréhensible pour les enfants qui posent les questions. C’est quand même parfois quelque chose de plutôt compliqué, parce que les réponses aux questions peuvent être abstraites et il faut arriver à simplifier pour des enfants qui n’ont pas le bagage scientifique pour certains niveaux d’explication. Mais nous allons voir plus loin ce qu’il en est pour Étienne Klein.La revueLe livre est relativement court, et donc, étonnamment, la revue sera plus courte que d’habitude.Étienne Klein a construit, pour cet ouvrage, une sorte de discussion où il entrecoupe son dialogue des questions qui lui sont posées afin de donner un cheminement qui soit agréable à lire. Cela donne finalement quelque chose d’intéressant et il est même drôle de voir, dans l’enchaînement des questions, que parfois des élèves en ont posé certaines qui semblent soufflées. Je ne sais pas comment l’expliquer, mais les questions ont du être écrites avec Étienne Klein pour arriver à avoir des choses qui ont du sens et qui soient pertinentes, tout du moins que les réponses associées soient intéressantes. On imagine assez bien les élèves se creusant la tête pour trouver des questions à poser à un physicien et philosophe renommé. Tout en candeur.Le livre est en fait écrit en deux parties : une première qui est plutôt la vision d’Étienne Klein des questions qui peuvent légitimement se poser concernant le temps comme “D’où vient que le temps passe? Et passe-t-il vraiment ?” qui sont assez philosophiques et en même temps que se retrouvent très ancrées dans la physique sur la question de la définition d’un instant de temps par exemple. Il aborde aussi notamment ce qu’Albert Einstein a pu dire sur la question du temps ou sur l’analogie souvent prise du temps qui passe comme un fleuve qui coule.Dans la seconde partie nous en arrivons effectivement aux questions/réponses entre les enfants (jeunes pourrait peut-être mieux correspondre, je ne suis pas sûr du terme le plus approprié) et Étienne Klein. Les questions sont intéressantes, il y en a des très variées qui vont de savoir si on peut mesurer la vitesse du temps, si les photons voient le temps passer ou quand est-ce que la fin du monde arrivera! Un peu de tout.Le truc intéressant dans tout cela c’est qu’Étienne Klein essaie de se mettre au niveau des élèves et ne cherchent pas à leur raconter n’importe quoi histoire de les enfumer (si je puis dire). Il y a par exemple un enfant qui cherche à savoir si “Dieu porte une montre”. Outre qu’Étienne Klein explique qu’il lui sera compliqué de savoir ce qu’il pourrait porter au poignet si il en avait un, il concède qu’il ne sait pas quoi répondre à cette question. D’autres questions sont plus complexes comme celle où l’enfant cherche à savoir l’impact d’évènements, qu’il provoquerait dans le passé, sur le présent si celui-ci était modifié par voie de conséquence. La réponse est un peu difficile, mais j’ai eu l’impression qu’Étienne Klein a eu un peu de mal essayé d’expliquer ce qu’il en était et s’est retrouvé à devoir mettre en avant le principe de causalité pour justifier qu’il ne serait pas possible de modifier le présent que l’on connait en allant dans le passé.À priori il est compliqué d’expliquer des concepts qui nécessitent un certain bagage scientifique de base à des personnes ne le possédant pas. Encore plus quand ces explications sont parfois entrecoupées de références philosophiques, d’un grand intérêt sans aucun doute, mais qui peuvent être encore plus obscures pour quiconque n’ayant eu l’occasion d’aborder la philosophie dans son cursus scolaire. Et je ne parle pas des explications qui parfois vont jusqu’à citer les temps, durées et énergies de Planck (dans le genre de concepts incompréhensibles sans comparaison pour des pré-adolescents avec des choses qu’ils connaitraient, je pense qu’on peut faire difficilement mieux).En conclusionFinalement, un livre, plutôt rapide à lire, qui essaye, autant que faire se peut, de simplifier toutes ces choses complexes! Mais j’ai l’impression que malgré les efforts d’Étienne Klein, cela a été compliqué de le faire car les explications données me semblent parfois plus destinées à une assistance qui dispose déjà de connaissances en physique et/ou sur le sujet.Je suis bien peu de choses pour conseiller Étienne Klein, mais j’aurais été preneur, si j’avais été un enfant participant aux questions ou même juste présent pour entendre les réponses, de comparaisons, quand il est question de données/concepts physiques, pour arriver à se forger une idée, même lointaine de ce dont il est question. Rester terre à terre et multiplier les exemples issus de la vraie vie aurait été le bon plan à suivre et je pense qu’Étienne Klein a tenté autant qu’il pouvait de suivre ce chemin.Et finalement je pense qu’il aurait été pertinent d’en savoir un peu plus sur la façon dont les enfants ont perçu les questions, comment ils ont compris les réponses et les explications données par Étienne Klein. Il aurait aussi été intéressant d’en savoir un peu plus sur l’assistance: quel était l’age des enfants, combien étaient-ils, comment s’est passée la rédaction des questions, etc.Il s’agit en effet d’une expérience assez sympa, et sûrement très enrichissante, de mettre des enfants face à des scientifiques de la trempe d’Étienne Klein et d’engager cet échange de questions/réponses. Il est juste dommage de ne pas en savoir plus.En tout cas je suis preneur de retours de personnes ayant tenté la lecture de ce livre avec leurs enfants pour voir ce que cela donne, comment ils comprennent les choses, etc et si finalement je ne suis pas trop dur avec Étienne Klein!Un livre qui n’a rien à voirFlatland (Edwin A. Abbott). Éditions 84. Crédit goodreads : http://goo.gl/9RCMhF“Flatland: A Romance of Many Dimensions” est un roman, ou plutôt une allégorie (selon Wikipédia) qui fut écrite en 1884 par monsieur Edwin A. Abbott. Cette histoire est celle d’un carré nous racontant la vie dans le plat pays (en deux dimensions), ses coutumes et la manière dont il découvre LineLand, le pays à une dimension, PointLand le pays sans dimension (et avec un seul habitant, le pays lui-même), ainsi que SpaceLand, le pays à trois dimensions. À travers cette histoire qui pourrait passer pour un délire de mathématicien, certains voient d’autres choses comme “la sortie de la caverne, voire le cheminement de Don Quichotte, l'hidalgo de Cervantes” (cf la page wikipédia de Flatland) ou encore une critique de la société anglaise de son époque (comme l’explique d’ailleurs amy Farrah Fowler à Sheldon Cooper dans la série The Big Bang Theory). En dehors de certains aspects à la limite du machisme (les femmes sont au ban de la société), beaucoup voient dans cet ouvrage une certaine avancée théorique concernant les dimensions supérieures et la manière de les considérer (plutôt visionnaire à l’époque).C’est facile à lire, intéressant pour comprendre le travail réalisé pour imaginer ce que serait la vie dans un univers à deux dimensions, et quand on sait que c’est censé être une critique de l’époque victorienne on tente, tout au long de l’histoire, de deviner les liens cachés qui pourraient exister.Un livre que j’aimerais lireThe Demon-Haunted World: Science as a Candle in the Dark (Carl Sagan). Ballantine Books. Crédit goodreads (http://goo.gl/h4Wydy) Comme livre que j’aimerais lire aujourd’hui je vais citer “The Demon-Haunted World: Science as a Candle in the Dark” de Carl Sagan. Publié en 1995, l’objectif de l’auteur était, à travers ce livre, de pouvoir permettre aux personnes qui le lirait de pouvoir savoir comment apprendre à avoir un esprit critique et sceptique. Selon Sagan, il est important que les personnes qui sont mises face à des propositions à l’allure scientifique, sachent arriver à déterminer via une étude critique et/ou sceptique des arguments et des données qui leur sont présentées si cela relève plus du fait scientifique ou des pseudo-sciences.Pour certains cet ouvrage est l’une des pierres angulaires du mouvement sceptique contemporain et se doit donc d’être lu pour disposer des armes susceptibles de nous aider à différencier faits scientifiques et pseudo-sciences. Je crois que je ne peux pas passer à côté de ça ! À noter que cet ouvrage a sûrement été l’inspiration de la collection de livres sceptiques nommée “Une chandelle dans les ténèbres” et mise en place par Henri Broch aux éditions Book-e-book.Plugs et liens évoquésPage Wikipédia d’Étienne Klein : http://fr.wikipedia.org/wiki/%C3%89tienne_KleinPage des Presses Universitaires de France d’Étienne Klein : http://www.puf.com/Auteur:%C3%89tienne_KleinLe monde selon Étienne Klein sur France Culture : http://www.franceculture.fr/emission-le-monde-selon-etienne-klein-0Ses livres sur Amazon.fr : http://www.amazon.fr/Etienne-Klein/e/B001HOGQBALa page wikipédia sur Flatland : http://fr.wikipedia.org/wiki/FlatlandLa page wikipédia sur Edwin A. Abbott : http://fr.wikipedia.org/wiki/Edwin_Abbott_AbbottLa liste des livres de la collection “Une chandelle dans les ténèbres” sur Wikipédia : http://fr.wikipedia.org/wiki/Une_chandelle_dans_les_ténèbresLa page de Gilberte Tsaï sur le site de la gestion des spectacles : http://www.lagds.fr/fiche_artiste.cfm/401096_gilberte-tsai.htmlLe site du manège de reims concernant une des “petites conférences” traitant des cinq sens avec l’écrivain Jean-Christophe Bailly : http://www.manegedereims.com/des-spectacles/temps-fort/le-waouh/les-cinq-sensLa page associée de Bayard listant les livres de la collection “Les petites conférences” : http://www.bayard-editions.com/Religions-et-sciences-humaines/SCIENCES-HUMAINES/Societe/LES-PETITES-CONFERENCES/(page)/1/(sortby)/diffusion_print_date/(perpage)/60Un petit plug pour un billet présent sur enroweb : http://www.enroweb.com/blogsciences/index.php?post/2015/01/03/Top-10-des-romans-a-teneur-scientifique-lus-en-2014 Il s’agit du top 10 des livres à “teneur scientifique” qu’Antoine Blanchard, alias Enro, du Café des Sciences a pu lire en 2014. Si vous avez envie de lire un roman où là science est importante et sert l’histoire, voici de quoi vous occuper !Un autre petit plug pour les amis du café des sciences qui participent aussi à la semaine thématique sur le temps dans lequel s’inscrit cet épisode. Pour retrouver tous les billets associés je vous laisse vous rendre sur la page associée : http://thema.cafe-sciences.org/articles/category/le-temps/ConclusionEt voilà le 10ème épisode (non Hors-Série) !Pas si mal pour un truc débuté sans vraiment savoir dans quoi j’allais me lancer ! En tout cas je suis preneur de tous les retours que vous pourriez avoir, que vous ayez aimé ou pas, n’hésitez pas à me le dire! Envoyez-moi des e-mails, des commentaires, des like sur la page Facebook, des tweets, des retweets, n’importe quoi qui puisse servir à l’isolation contre le froid, ou l’oeuvre complète de Bill Bryson si jamais elle vous encombrait et que vous préféreriez vous en servir pour caler votre machine à laver qui bouge trop quand elle tourne.Comme je l’expliquais, cet épisode se place dans le cadre d’une semaine thématique sur le temps organisé par le café des sciences. Si vous souhaitez lire les billets sur le sujet, dans des contextes des plus variés, jetez vous sur la page associée sur le blog dédié du café : http://thema.cafe-sciences.org/articles/category/le-temps/ En fait non, vous n’avez pas le choix, vous DEVEZ les lire ! Vous découvrirez, je suis sûr, plein de choses super intéressantes sur le sujet !Si vous cherchez LisezLaScience sur internet, vous pouvez retrouver le podcast sur son site web http://lisezlascience.wordpress.com, vous pouvez me contacter sur twitter sur @LisezLaScience , sur la page Facebook associée https://www.facebook.com/LisezLaScience ou encore sur le café des sciences via la page “Nos Blogs” http://www.cafe-sciences.org/nos-blogs/Concernant le flux, il est accessible sur podcloud http://lisezlascience.podcloud.fr/ (merci les gars!), sur podcastfrance http://podcastfrance.fr/podcast-lisez-la-science et maintenant sur podcastpedia podcastpedia.org/LisezLaScienceVous pouvez aussi m’envoyer des e-mails à lisezlascience@gmail.comVous pouvez d’ailleurs retrouver l’ensemble des livres cités sur la liste goodreads associée à ce podcast sur le compte de LisezLaScience. Les livres seront placés sur des “étagères” spécifiques par épisode et ceux de celui-ci sont sur l’étagère “lls-10”Prochain épisodeOn se retrouve très bientôt pour un nouvel épisode sur le livre de Thomas Kuhn “La Structure Des Révolutions Scientifiques”.D’ici là bonnes lectures à toutes et à tous.Les références des livres évoquésLe temps (qui passe ?)ISBN : 2227486015 (ISBN13 : 978-2227486010)Auteur : Étienne KleinNombre de pages : 96 pagesDate de parution : 31/01/2013 chez Bayard JeunessPrix : 12,50€ chez Amazon et à la FnacLe Temps et sa flècheISBN : 2081303272 (ISBN13 : 978-2081303270)Auteur : Étienne Klein et Michel SpiroNombre de pages : 281 pagesDate de parution : 27/04/2013 chez FlamarrionPrix : 8,20€ chez Amazon et à la FnacLes tactiques de ChronosISBN : 2081223058 (ISBN13 : 978-2081223059)Auteur : Étienne KleinNombre de pages : 219 pagesDate de parution : 12/01/2009 chez FlammarionPrix : 8,20€ chez Amazon et à la FnacLe facteur temps ne sonne jamais deux foisISBN : 2081220229 (ISBN13 : 978-2081220225)Auteur : Étienne KleinNombre de pages : 268 pagesDate de parution : 14/10/2009 chez FlammarionPrix : 8,20€ chez Amazon et à la FnacDiscours sur l’origine de l’universISBN : 2081270641 (ISBN13 : 978-2081270640)Auteur : Étienne KleinNombre de pages : 192 pagesDate de parution : 13/10/2012 chez FlammarionPrix : 6,00€ chez Amazon et à la FnacEn cherchant Majorana, le physicien absoluISBN : (ISBN13 :)Auteur : Étienne KleinNombre de pages : 170 pagesDate de parution : 26/09/2013 chez Des équateursPrix : 42,00€ chez Amazon et 63,00€ à la FnacRemarque : je suis très étonné du prix du livre ! Je ne crois pas l’avoir acheté à ce prix-là ...Soixante nanosecondesAuteur : Éric SimonNombre de pages : 303 pagesDate de parution : 15/12/2013Prix : gratuit !A quoi sert la science?ISBN : 2227477512 (ISBN13 : 978-2227477513)Auteur : Jean-Marc Levy-LeblondNombre de pages : 150 pagesDate de parution : 28/02/2008 chez Bayard CulturePrix : 9,90€ à la FnacLe fini et l’infiniISBN : 2227482060 (ISBN13 : 978-2227482067)Auteur : Alain BadiouNombre de pages : 58 pagesDate de parution : 07/10/2010 chez BayardPrix : 12,00€ chez Amazon et à la FnacLa Monnaie, pourquoi?ISBN : 2227486511 (ISBN13 : 978-2227486515)Auteur : Jean-Claude TrichetNombre de pages : 68 pagesDate de parution : 30/05/2013 chez Bayard JeunessePrix : 12,50€ chez Amazon et à la FnacFlatland: A Romance of Many DimensionsISBN : 2290054097 (ISBN13 : 978-2290054093)Auteur : Edwin A AbbottNombre de pages : 125 pagesDate de parution : 05/04/2013 chez Editions 84Prix : 3,00€ chez Amazon et à la FnacThe Demon-Haunted World: Science as a Candle in the DarkISBN : 0345409469 (ISBN13 : 978-0345409461)Auteur : Carl Sagan et Ann DruyanNombre de pages : 480 pagesDate de parution : 25/02/1997 chez Ballantine BooksPrix : 12,42€ chez Amazon et 8,93€ à la Fnac (via un vendeur externe cependant)Vous pouvez retrouver la liste des livres dans goodreads à l’adresse suivante : https://www.goodreads.com/review/list/30797714-lisezlascience?shelf=lls-10

In contrasto con i modelli correnti della celebrità, Jean-Luc Nancy mostra che l'adorazione non costituisce la venerazione feticistica e consumistica degli idoli del momento, ma si esprime nella gioiosa accoglienza del fortuito di cui sono intessuti il mondo e l'esistenza.

In contrasto con i modelli correnti della celebrità, Jean-Luc Nancy mostra che l'adorazione non costituisce la venerazione feticistica e consumistica degli idoli del momento, ma si esprime nella gioiosa accoglienza del fortuito di cui sono intessuti il mondo e l'esistenza.

Join us for a lecture vie teleconference with Jean-Luc Nancy, the seminal French philosopher in the tradition of Heidegger, Nietzsche, and Derrida. Please note that the lecture will be in French, with simultaneous translation. An English translation of the conference paper will be circulated before the lecture. His work questions politics, ontology, and aesthetics and has shown a particular interest in music. He recently collaborated with composer Sergio Perezzani on "Au bord du sens” for the Stuttgart Contemporary Music Festival. Nancy’s texts have been set to music by Michael Levinas (“Dies Irae”) and Mark André (Noli me tangere).

In his recent book, The Conflagration of Community: Fiction Before and After Auschwitz (University of Chicago Press, 2011), J. Hillis Miller sets outs to address Theodor Adorno’s famous proclamation that to write poetry after Auschwitz is impossible and barbaric. One should make clear from the outset that Miller’s central project in this regard is not to make some grand claim about the value or worth of literature in the face of dehumanization and atrocity. The value of literature for him and for us is a given. There is nothing to argue. Rather, Miller is most concerned with addressing the question of whether or not literature can truly bear witness to the Shoah. While this question has indeed been a central concern of literary scholars, philosophers, and artists since Celan and Adorno, Miller’s method of approaching this topic by way of the theoretical concept of “community,” and more specifically, “literary communities,” is rather intriguing. Here, Miller invokes the work of Derrida and Jean-Luc Nancy in particular. As a way of illustrating his theoretical claims, Miller looks extensively at Kafka’s The Castle, The Man Who Disappeared, and The Trial In fact, Miller spends almost two-thirds of The Conflagration of Community examining these and several other Kafka works in order to reveal the extent to which literature can “imagine” the bureaucracies and social infrastructures of the Shoah. Miller’s love and deep admiration for Kafka shines through here and he does an amazing job of penetrating Kafka’s writing and making sense of it in light of his theoretical perspective. Beside the work of Kafka, Miller also looks extensively at novels that explicitly invoke the Shoah. Keneally’s Schindler’s List, McEwan’s Black Dogs, Spiegelman’s Maus make this list and Miller does each justice. In addition to the central issue of literature and the Shoah, there also exist several parallel concerns throughout The Conflagration of Community. Among these are American slavery and the serious injustices and human rights violations committed during the Bush administration. In a refreshing way, Miller’s work in The Conflagration of Community ends up being about much more than the Shoah and in successfully completing the Benjaminian constellation he tells us is his intention to construct in the preface, Miller creates something that is both profound and that persists beyond the page. Learn more about your ad choices. Visit megaphone.fm/adchoices