Podcast appearances and mentions of John Cage

Playlist: Cephas Azariah - Faber Sanctum - Hollie Kenniff Remixamiina - SeoulJohn Hayes - Just You RememberMary Lattimore - The Poppies, the Wild Mustard, the Blue-Eyed GrassesMary Lattimore - We Waited for the Boards to LeaveSven Laux - SkoningenMoshimoss - The DayMax Richter - Dream 11/ Moth-Like StarsJames Murray - The Land BridgeVOCES8 - Nuserere neum DeusKara-Lis Cloverdale - Moments in LoveTogether LA - The Start of Something NewCrystal Quartez - ReproductionGood Weather for an Airstrike - mochaMidori Hirano - Vanished GardenPoemme - TadpolesAyami Suzuki - Denkmal

Roaratorio is an acoustic experimental production created by the composer John Cage in 1979 for West German Radio. Cage, whose complex and challenging music often seemed chaotic, was actually a meticulous designer of his compositions, and this lush work is a good example of his mode of operation. As part of the class Radio/Audio Masterworks, which explores significant productions through a rigorous critical lens, filmmaker and sound artist Peter Lucas spoke with the class about the history of the work and led the class, operating in teams, through an exercise that resulted in the creation of their own Roaratorio.

Episode 177 Chapter 36, Modern Turntablism. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 36, Modern Turntablism from my book Electronic and Experimental music.   Playlist: TURNTABLISM   Time Track Time Start Introduction –Thom Holmes 01:28 00:00 1.     Ottorino Respighi, “The Pines of Rome” (1924) recorded by The Milan Symphony Orchestra conducted by Cav. Lorenzo Molajoli in November 1928. Recorded bird sounds is heard at about 36 seconds into this section. This is a 78 RPM recording from 1928 that used a turntable to play the sounds during the performance. 01:44 01:36 2.     Paul Hindemith, “Trickaufnahmen” (1930). Recording made available by Mark Katz, author of Capturing Sound: How Technology has Changed Music (2004). 00:58 03:16 3.     John Cage, “Imaginary Landscape No. 1” (1939) from The 25-Year Retrospective Concert Of The Music Of John Cage (private, 1959). 08:37 04:12 4.     Milan Knížák, “Composition No. 1' (1979) from Broken Music. Selection and assemblage of materials made by Walter Marchetti at Harpo's Bazaar, Via San Felice 22, Bologna. 03:26 12:46 5.     Grandmaster Flash And The Furious Five, “The Wheels Of Steel” (1981) from The Wheels of Steel. Medley Compiled by Sylvia Robinson; Produced by, Joey Robinson, Jr., Sylvia Robinson. 07:04 16:10 6.     Christian Marclay, “Smoker,” (1981) from the album Records. Christian Marclay, turntables and processing. Recorded on a cassette deck at home. 03:40 23:12 7.     DJ Shadow ... And The Groove Robbers, “Hindsight,” (1993) from In/Flux/ Hindsight. 06:55 26:56 8.     Afrika Bambaataa, “Looking For The Perfect Beat” (1985) from Looking For The Perfect Beat 1980-1985. 03:51 33:56 9.     Gen Ken Montgomery, “Droneskipclickloop” (excerpt, 1998) from Pondfloorsample. Using four CD players and curated sounds in the categories Drone, Skip, Click, and Loop. Mixed in real time at a performance at Experimental Intermedia Foundation (NY) on March 17, 1998. 07:19 37:48 10.   Crawling with Tarts, “Trecher Track”(1999) from Turntable Solos. By Michael Gendreau and Suzanne Dycus-Gendreau. 04:11 45:08 11.   Christian Marclay, from Record Without a Cover (excerpt, 1999). Marked with instructions, "Do not store in a protective package," my copy is a reissue of the disc first released in 1985, done by Japanese label Locus Solus. The naked record will naturally become increasingly damaged from shipping, storing, and playing the record, all becoming part of the work. In essence, the owner is implored to progressively destroy the release, allowing it to become scratched and bruised from accumulating damage that make each copy unique. My copy actually skips a lot. In the passage I am playing I often had to press the needle down a little bit to get through a skip. There is faintly recorded jazz music found on some of the disc, while other parts are pretty much composed only of surface noise. 04:31 49:18 12.   Yasunao Tone, “Part 1” (excerpt 1999) from Solo for Wounded CD. All sounds used were from scratched CD's. 03:54 53:50 13.   Philip Jeck, “Untitled 2,” (2002) from Soaked. Turntables, Philip Jeck, electronics, Jacob Kirkegaard. Recorded live at the Electronic Lounge, Moers Festival, Germany. 04:30 57:42 14.   Maria Chavez, “Jebus” (2004) from Tour Sampler, recorded in Houston, Texas. Turntables and electronics by Maria Chavez. 04:59 01:02:12 15.   Marina Rosenfeld, “Three” (2005) from Joy of Fear. Piano, turntables, dubplates, electronics, sound processing], vocals, Marina Rosenfeld. She said, “This record couldn't exist without the small collection of one-off ‘acetate records' (dub plates) that I've been making since 1997, when I first encountered Richard Simpson and his disc-cutting lathe in Los Angeles.” 05:47 01:07:12 16.   Luc Ferrari and Otomo Yoshihide, Slow Landing” (2008) from ‎Les Archives Sauvées Des Eaux. Composed by Luc Ferrari and Turntables, Electronics, prepared phono cartridges by Otomo Yoshihide. 10:40 01:12:58   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

Playlist: Phoria - New BeginningVivian Roost - Invisible - Tom Ashbrook ReworkEydis Evensen - ResolutionThom Robson - RememberingBPMoore - A Lifetime Rolls By - annasara ReworkChelsea McGough - Deep Sea DiveHugar - mistGabriel Olafs, Steiny Sigurdardottir - VisaABBOTT, Canea Quartett - FamiliarAutonomy - Feel What you NeedBelle Chen - Passages of TimeFederico Albanese - Gentle FlowIlluminine - Dear, DoloresAngus MacRae - FlameAnna De Bruin, Daniel Hewson, Curve Ensemble - New SpringFyfe, Iskra Strings - Two One, FourSophie Hutchings - The Gathering DuskBLOMMA - NeonMadeleine Cocolas - Return HomeJohn Hayes - almost AmenLara Somogyi, Jean-Michel Blais - ascensionSlow Meadow - Tethered to the Earthalva noto - RitualFischersund - SolJoshua Stoddard, The Album Leaf - Magnetic MorningMichael Price, Malibu - The Anatomy of Clouds

It has been a MONTH! But we're back! In this episode, I talk about a bunch of music I saw on Everybody's Live with John Mulaney, then I talk about the Karate Kid/Cobra Kai and Doctor Who. (I GO OFF when I'm talking about Doctor Who!) I had fun making it. Now it's your turn to have fun listening to it. Enjoy! Blog: http://emptychecking.blogspot.com Bandcamp: http://derekbrink.bandcamp.com email: db@derekbrink.com Time Index: 0:00 - Intro 6:23 - Music Break - "S*** About Shakespeare" 6:54 - Music from Everybody's Live 9:14 - Kim Deal (and Kim Gordon) 11:51 - Daniel Hope/Spring 1/Max Richter 15:34 - John Cage and Maggie Rogers 19:21 - Alanis Morissette 21:41 - Sleater-Kinney (and the Muffs) 23:50 - Music Break - "Napalm" 24:20 - Stuff I Watched 24:20 - Karate Kid/Cobra Kai 31:42 - Doctor Who 54:05 - Music Break - "What Matters Most (South of Savannah)" 54:35 - Outro

Episode 175 Chapter 34, Live Electronic Music— Foundations. Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 34, Live Electronic Music— Foundations from my book Electronic and Experimental music.   Playlist: LIVE ELECTRONIC MUSIC FOUNDATIONS   Time Track Time Start Introduction –Thom Holmes 01:36 00:00 1.     John Cage, “Radio Music” (1956) from John Cage. Performed on radios by Gianni-Emilio Simonetti, Juan Hidalgo, Walter Marchetti. Each of these performers used a Panasonic multi-band portable Radio Model RF-1600 B receiver. 04:33 01:40 2.     John Cage, “Cartridge Music” (1960) from Music For Merce Cunningham. Phonograph Cartridges, Amplified Small Objects, David Tudor, Michael Pugliese, Takehisa Kosugi. Recorded at Paris, France in September 1988. 18:53 06:12 3.     Alvin Lucier, “Music for Solo Performer” (excerpt) (1965). Live recording from 1975. Brainwave amplification performed by Alvin Lucier; electronics, Nicolas Collins. 11:46 25:04 4.     Gordon Mumma, “Horn” (1965) from Live-Electronic Music. Electronic modification of horn sounds. Horn, Gordon Mumma; Cybersonic console, designed by Mumma, operated by William Ribbens; Recorded by George Cacioppo; Voice, George Cacioppo, Robert Ashley. For a hornist, two voices, and a cybersonic console operator. 09:36 36:48 5.     John Cage, “Variations V” (1965). Performance on November 11, 1966, Théâtre de Champs Élysées, Paris. Performers, John Cage, David Tudor, Gordon Mumma. 39:57 46:10 6.     David Tudor, “Bandoneon ! (A Combine)” (1966) from The Art Of David Tudor 1963–1992. Composed and performed by David Tudor. 14:15 01:26:43 7.     David Behrman, “Runthrough” (1967–68) from Wave Train. For homemade synthesizers and photocell mixers. Homemade Synthesizer, Photocell Mixer, Alvin Lucier, David Behrman, Gordon Mumma, Robert Ashley. 12:11 01:40:26 8.     Gordon Mumma, “Telepos” (1972) from Music For Merce 1952-2009.  Recorded live on February 2, 1972, La Fenice, Venice. Controlled Sounds Activated By Dancers With Telemetry-accelerometer Belts, Gordon Mumma. 18:38 01:52:34 9.     Pauline Oliveros, Rehearsals for “In Memoriam, Nikola Tesla” (excerpt) (1972). Recorded live September 1972, Köln, Germany.  No performers listed. 11:56 02:11:06 10.   Robert Ashley, “Automatic Writing” (1974–79) from Automatic Writing.  Electronics, Polymoog, Voice, Words, Produce, Recorded, Mixed by Robert Ashley; Mixing Assistance, Rich LePage; Switching Circuit Designed and Built by Paul DeMarinis; Translated by Monsa Norberg; Voice, Mimi Johnson. 46:00 02:23:04   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.  

(Kevin)Playlist: Quinie - Sallow BuckthornThe Appleseed Cast - The Waking of PertelotteThe Appleseed Cast - Signalcaroline - Total EuphoriaUltan O'Brien, featuring Nic Gareiss & Martin Green - Packie's PandemoniumLullaby for the Working Class - Inherent SongSam Amidon - Three FiveAlan Sparhawk - HeavenCole Pulice - In a Hidden Nook Between Worlds IWatchhouse - Sway/Endless Highway (pt. 2)Dave Harrington - Accept The FilmGeir Sundstøl - PysjJolie Laide - Small ThingsT. Gowdy - Novus LumenKara-Lis Coverdale - Flickers in the Air of NightXu + Oberlin - Velvet MeadowMoat Bells - BlurriesRhins - The BurnoutHouse on the Strand - Faithless LandPurelink - Looked Me Right In The EyeRomance - In The NightMike Lazarev - The Final Resonance of LightSarah Pagé & Patrick Graham - Crossing OverGanavya - Sees FireThe Vernon Spring - In the MiddleRauelsson - Temporary AlchemyPruski - CyclesJuha Mäki-Patola - TrailsVega Trails - Murmurations

Roaratorio is an acoustic experimental production created by the composer John Cage in 1979 for West German Radio. Cage, whose complex and challenging music often seemed chaotic, was actually a meticulous designer of his compositions, and this lush work is a good example of his mode of operation.As part of the class Radio/Audio Masterworks, which explores significant productions through a rigorous critical lens, filmmaker and sound artist Peter Lucas spoke with the class about the history of the work and led the class, operating in teams, through an exercise that resulted in the creation of their own Roaratorio.

Um homem passou 20 anos sem falar com a esposa, mesmo morando com ela e criando juntos três filhos. Um compositor escreveu uma música sem sons depois de descobrir que o silêncio não existe. Um casal de artistas, depois de se encarar silenciosamente por anos, resolveu atravessar a Muralha da China inteira para se divorciar. Existem muitos tipos de silêncio, mas nenhum deles é vazio: todos comunicam alguma coisa.Este é mais um episódio do Escuta Essa, podcast semanal em que Denis e Danilo trocam histórias de cair o queixo e de explodir os miolos. Todas as quartas-feiras, no seu agregador de podcasts favorito, é a vez de um contar um causo para o outro.Não deixe de enviar os episódios do Escuta Essa para aquela pessoa com quem você também gosta de compartilhar histórias e aproveite para mandar seus comentários e perguntas no Spotify, nas redes sociais , ou no e-mail escutaessa@aded.studio. A gente sempre lê mensagens no final de cada episódio!...NESTE EPISÓDIO•⁠ ⁠Assista aqui ao vídeo em que Otou Katayama finalmente fala com sua esposa, Yumi Katayama.•⁠ ⁠"Knight Scoop" vai ao ar todas as sextas-feiras no Japão desde 1988. Você pode conferir uma lista dos primeiros 1662 episódios clicando aqui.•⁠ ⁠Confira uma apresentação de William Marx ao piano tocando a obra "4′33″", de John Cage.•⁠ ⁠Steve Orfield, dono da câmara anecoica "Orfield Labs", em Minessota, conta sobre a dificuldade das pessoas de passarem mais de 20 minutos no local.•⁠ ⁠"A Fonte", de Marcel Duchamp, é um mictório, mas é muito mais do que um mictório.•⁠ ⁠Assista aqui ao documentário "The Lovers: The Great Wall", que retrata a travessia de Marina Abramovic e Ulay rumo ao divórcio na Grande Muralha da China.•⁠ ⁠Mais de 20 anos depois, o casal se reencontrou durante a obra "The Artist is Present"....AD&D STUDIOA AD&D produz podcasts e vídeos que divertem e respeitam sua inteligência! Acompanhe todos os episódios em aded.studio para não perder nenhuma novidade.

ⓦ weekly52 Blog Podcast Video & Artworkhttps://weekly52.de/weekly/425Achtet auf das ⓦ

Playlist: John Hayes - PalmsGrandbrothers - We CollideElskavon - AmpleFeliz Rosch, mondena quartet - AllesTom Ashbrook - OaktreesFrancesco Santalucia - MiralitzNils Frahm - Fundamental ValuesFreya Lily - Loop HandsRumpistol - AurolacGrace Scheele - 12 LayersMikael Lind - Fur and FeatherAron van Selm, Ardie Son - Whispers - StringsOscar Kowalski, Emma Jackson - A Note from TimeSofie Birch - Mygslowave - BasinMoshimoss, Levi Patel - ElsewhereJessie Marcella - Untitled 05Norvik - AbsumJay Cliffen - HeliographAVAWAVES - Healing as a FamilyMarshall Usinger - PlanetsPoemme - Hidden SanctuaryHirotaka Shiotsubaki - halo

Pierre-Michel MengerCollège de FranceAnnée 2023-2024Sociologie du travail créateurColloque - Boulez : l'invention au pouvoir ? Les années 1975-1995 - What Boulez's Collège de France lectures tell us about Musical MaterialSession 1 : Penser la musique au Collège de FranceIntervenant :Edward CampbellEmeritus Professor of Music, King's College, University of AberdeenColloque organisé pour le centenaire de la naissance de Pierre Boulez par le Pr Pierre-Michel Menger, chaire Sociologie du travail créateur, et Nicolas Donin, professeur de musicologie à l'université de Genève.Avec le soutien de la Fondation du Collège de France et de son grand mécène LVMH.RésuméThe topic of musical material features prominently throughout Boulez's College de France lectures, and in this paper I set out to establish some of the principal elements of its elaboration. Boulez spoke of the dissatisfaction experienced by musicians in the face of "the frequent inadequacy of the sound material… at their disposal" (2018, pp. 3-4) and suggested that the search for new material stood in need of aesthetic reflection. Unlike for John Cage and other musical experimentalists, for whom sound was of intrinsic value and no distinction was to be made between sound, noise and music, Boulez positioned himself within the tradition of Schoenberg and Webern where, to qualify as musical, sounds had first to form part of a musical language and be integrated into a compositional project.In the lecture courses he gave in the early 1980s, Boulez embarked on a re-reading of his own compositional trajectory. He discussed the question of musical material and how he had adapted what he inherited from Schoenberg, Webern and Messiaen to produce his own idiosyncratic approach in which he developed new pre-compositional operations. In "The Concept of Writing" (1990-91) he cited examples from the work of his contemporaries, namely Berio, Ligeti and Carter, highlighting, in particular, how Carter managed to produce "pre-material" which "fixes many other features of the language" (2018, pp. 506-507). He returned to Carter's working of source or pre-compositional material in "Writing and Idea" (1992–93) where we find some of Boulez's richest reflections on the topic.In all, Boulez set out a coherent vision of musical material in the College de France lectures. Despite the sometimes apodictic nature of his exclusions, there is much of great value in the generic concept he elaborates. While chronicling his own idiosyncratic compositional journey, his discourse is arguably open-ended in its envisioning of what musical material might be and responsive to the imaginative needs of individual creative musicians. Consequently, the paper concludes in considering what Boulez's reflections might continue to offer to composition and musical thought today.

In deze aflevering spreekt Piek Knijff met Hanne Marckmann , mede-oprichter en creative director van Go Wonder, over de kracht van tactiele technologie in musea, de spelende mens en hoe technologie uitnodigt tot spel (play). Isa Emmen schuift aan.In deze aflevering komen de volgende namen voorbij:Eric Jan Krupe (technical director bij Go Wonder)Mihály Csíkszentmihályi (psycholoog)The Fun Theory (experiment van Volkswagen om gedrag te veranderen door middel van ‘fun', waar The Never Ending Bin en The Piano Stairs onder vallen)Deze publicaties:Play Matters - Miguel Sicart (2014)Homo Ludens: proeve eener bepaling van het spel-element der cultuur - Johan Huizinga (1938)What Things Do: Philosophical Reflections on Technology, Agency and Design - Peter-Paul Verbeek (2005)Theory of Fun for Game Design - Raph Koster (2004)Reality Is Broken: Why Games Make Us Better and How They Can Change The World (2011)Een gesprek met Sebastian Deterding over motivatie en gamification - Hanne Marckmann voor Games & Learning (2017)The Presentation of Self in Everyday Life - Erving Goffman (1956)En deze kunstwerken:Sigh - Sam Taylor-Johnson (video-installatie)4'33” - John Cage (compositie)——————————Dit gesprek is opgenomen op 15 april 2025.Host: Piek KnijffRedactie: Team Filosofie in actieStudio en montage: De PodcastersTune: Uma van WingerdenArtwork: Hans Bastmeijer – Servion StudioWil je nog ergens over napraten? Dat kan! Neem contact op via info@filosofieinactie.nl .Meer weten over Filosofie in actie en onze werkzaamheden? Bezoek dan onze website of volg onze LinkedIn-pagina .

(Kevin)Playlist: Ultan O'Brien, featuring Nic Gareiss - percussive dance - MachaBrigid Mae Power - May Morning DewOlga Anna Markowska - BorderlandLaurel Premo - Ma's MawImmersion & SUSS - KhamsinEli Winter, featuring Luke Sutherland, David Grubbs, Mike Watt - A Trick of the LightHermitess - Band of Foolsmore eaze & claire rousay - HopfieldsGunn - Truscinski Duo - FinMichael Scott Dawson - Changing ColoursThe Green Kingdom - PlanetariumYui Onodera - 木霊 参 / Kodama 3Grails - Earthly LifeTyresta & Simon McCorry - Sea ChangeJules Reidy - Interlude IKara-Lis Coverdale - FreedomMarine Eyes - Long HorizonHammock - She Likes the Stormy WeatherThe Choir - Plastic SwordsArborra - CatharsisCole Pulice, featuring Maria BC - After the RainFelbm - fall iiiJoy Guidry, featuring Diego Gaeta, Elizabeth Steiner - You've Done What You CanTunng - Snails

La influ

Some people might call Jonathon Keats an artist, but he calls himself an experimental philosopher. His body of work explores the way that human life intersects with political and economic systems. His first major work, in the year 2000, involved sitting in a chair thinking for hours, and then selling his thoughts to patrons at prices calculated on the basis of their income. He once copyrighted his own mind as a sculpture. He created a ringtone based on John Cage's famous piece, 4'33”, which is four minutes and thirty-three seconds of complete silence. He built a pinhole camera that takes photographic exposures lasting 100 years. In Berkeley, California, he built a temple for the worship of science. Recently, he has been involved in efforts to formalize rights of nature. Jonathon challenges us to look carefully at the assumptions built into our markets, our democracies and our technologies, and constantly seems to do it in ways that seem abstract at the time, but end up prefiguring political or cultural issues years or decades before they erupt. He's a wonderful guide to this territory, and to the big questions it involves. In this conversation Matt and Jonathon discuss the philosophy of timekeeping. They consider the connectedness and the alienation of being on universal atomic time, the promise of alternative systems such as the river clock, and how different notions of timekeeping influence our understanding of democracy and nature.Jonathon Keats is an experimental philosopher, artist and writer. He is currently a fellow at the Berggruen Institute, a research fellow at the Long Now Foundation, a research associate at the University of Arizona, principal philosopher at Earth Law Center and an artist-in-residence at Hyundai, the SETI Institute and Flux Projects. His most recent book is “You Belong to the Universe: Buckminster Fuller and the Future” (Oxford University Press).Mentioned:Alaska RiverTimeIf you have feedback or ideas for future episodes, email us at info@radicalxchange.org.Host: Matt PrewittGuest: Jonathan KeatsProducer: Jack Henderson Connect with RadicalxChange Foundation:WebsiteXBlueSkyYouTubeLinkedInDiscord

durée : 00:10:58 - Disques de légende du vendredi 16 mai 2025 - En 1996 paraissait chez Col Legno les "Sonates et Interludes" de John Cage par le pianiste Markus Hinterhäuser : une oeuvre énigmatique et sans équivalent par un interprète aux multiples facettes.

durée : 00:10:58 - Disques de légende du vendredi 16 mai 2025 - En 1996 paraissait chez Col Legno les "Sonates et Interludes" de John Cage par le pianiste Markus Hinterhäuser : une oeuvre énigmatique et sans équivalent par un interprète aux multiples facettes.

Playlist: Lenny Loops - A Thousand Times Behind My EyesDoug Kaufman - The GardenVikingur Olafsson, Peter Gregson - Above and BelowDobrinka Tabakova - Cello Concerto: LongingJon Leifs - Hinstra kveda for StringsIsobel Waller-Bridge - For A MomentHenrik Landstrand - PostEric Whitacre - OctoberSheku Kanneh-Mason - MyfawnyJane Antonia Cornish - Continuum: IIAnna Clyne - Dance: I. when you're broken openJóhann Jóhannson - StukOlafur Arnalds - Words of AmberRebecca Dale - Materna Requieum: 6. Paradisium InterludeOla Gjeilo - The SpheresJonsi - FljotavikJohn Tavener - Funeral CanticleValentin Silvestrov - Diptych I: The Lord's PrayerJon Hopkins, VOCES8 - Scene SuspendedGabriel Olafs - Solon IslandusMax Richter, World Choir for Peace - Dream 1, Pt 1

AI is everywhere. It hasn't really affected music yet, or has it? Help support The Next Track by making regular donations via Patreon (https://www.patreon.com/thenexttrack). We're ad-free and self-sustaining so your support is what keeps us going. Thanks! ‌Show notes: Perplexity (https://www.perplexity.ai) Microsoft made an ad with generative AI and nobody noticed (https://www.theverge.com/news/656104/microsoft-surface-ad-generative-ai-copilot-intel) How Daydreaming Can Enhance Creativity for Fiction Writers (https://www.literatureandlatte.com/blog/how-daydreaming-can-enhance-creativity-for-fiction-writers) The Next Track: Episode #305: Timo Andres on Steve Reich's Collected Works (https://www.thenexttrack.com/310) Sonatas and Interludes - Wikipedia (https://en.wikipedia.org/wiki/Sonatas_and_Interludes) Our next tracks: John Cage, Sonatas and Interludes, James Tenney (https://amzn.to/4jK2uPm) Corey Harris: Greens From the Garden (https://amzn.to/44XhYeA) If you like the show, please subscribe in iTunes (https://itunes.apple.com/podcast/the-next-track/id1116242606) or your favorite podcast app, and please rate the podcast.

(Kevin)Playlist: 16 Horsepower - Hutterite MileJon-Rae Fletcher - Oh, MariaJolie Laide - Saw The WaveMess Esque - Liminal SpaceQuade - Black KitesBellows - Untitled (1)Daniel Bachman - Fall into/out toJames Elkington - Morny In The EarlingDylan Golden Aycock - Good DirectionsWilliam Tyler - Anima HotelÅ Asher-Yates - Cedar & Sagerootless & starbirthed - troposphereJeremy Young - JudyBenoît Pioulard - GospelMoat Bells - DecloudLoscil - FlutterK. Leimer - Index (Original)Walt McClements - A Painted ShipDaniel Herskedal, featuring Eyolf Dale - Piano/Keys, Helge Norbakken - Drums - Elements of HarmonyGregory Uhlmann, Josh Johnson, Sam Wilkes - ArpyPatrick Shiroishi & Piotr Kurek - Breath, HeldMacie Stewart, featuring Lia Kohl, Whitney Johnson, and Zach Moore - Murmuration/Memorization

Choreographer Sir Wayne McGregor is one of the most acclaimed, innovative and influential figures in contemporary dance. His works are often the result of creative collaborations with artists, musicians, filmmakers, or with scientists to explore technological issues. In 2006 he was appointed as Resident Choreographer at the Royal Ballet. He has created more than 20 new works at Covent Garden in that time, including Chroma, set to music by Joby Talbot and The White Stripes, and Woolf Works, a full-length ballet based on the life and writings of Virginia Woolf. More recently, McGregor brought the post-apocalyptic vision of Margaret Atwood to the stage in his ballet MaddAddam, based on the writer's acclaimed trilogy of novels. He has worked as a movement director on films including Harry Potter Goblet Of Fire and Mary Queen Of Scots, collaborated with bands including Radiohead and Chemical Brothers, and choreographed the virtual concert, ABBA Voyage. In October 2025, Somerset House in London will mount a landmark exhibition dedicated to McGregor's trailblazing collaborations that have radically defined how we think about performance, movement, and the body. Having won numerous awards, including two Oliviers, Sir Wayne McGregor was knighted in 2024.Wayne McGregor talks to John Wilson about his childhood in Stockport, where he took dance classes and was inspired by John Travolta's moves in Saturday Night Fever. He recalls the house and techno music of the late 80s when he was a student, and how the freedom of expression he felt on nightclub dance-floors informed his style of choreography. Whilst living in New York after leaving university, Wayne came across an open-air performance by the legendary American choreographer Merce Cunningham, whose company was dancing to live music conducted by the avant-garde composer John Cage. It was a chance encounter that had a profound impact on McGregor. He also discusses how science and technology has been a major thematic influence on much of his work in recent years, and how AI has been used to create new works through analysis of physical movement and artistic expression.Producer Edwina Pitman

MartaPlaylist: Tristan Arp - life after humansLuke Wyland - Click ClapRemy Van Kesteren - daydreamingMary Lattimore - Wawa by the OceanSarah Neufeld, Richard Reed Parry, Rebecca Foon - Clouding CloudsGood Weather for an Airstrike - A Space Expedition for the Hundreds of MillionsCeler - ValdezKara-Lis Coverdale - Moments in LoveNami Sato - Blue Drizzlingakito misaki - chapter 17Glasbird - South Fen PineHAL ca - Sketch#1Early Fern - Snowy WoodsNorth Atlantic Drift - Luminousanthéne - gold miner

We are so excited to have the one and only Bob Bralove as our guest on No Simple Road this week! Reminiscing about the magnetic pull of legendary live performances, we reflect on the timeless impact of icons like Stevie Wonder, the Grateful Dead, and The Beatles. The past's vibrant music scene, where creative titans like John Cage and Salvador Dali mingled, serves as a backdrop for our discussion on the evolution of musical exploration. From the analog magic of pre-digital discoveries to the digital era's effortless access, this episode offers a nostalgic yet forward-looking perspective on how the journey of discovering music has transformed but continues to shape personal and collective experiences. Music, an eternal uniter, transcends the imaginary divisions of the world—this truth resonates throughout our conversation. As we navigate the delicate dance of personal expression and collaborative creation, the evocative power of music emerges as a comforting force. Taking all of Bob's influences and creating the new album 'Acoustic Conversations' has been a journey. We get to hear all about the creation of improvised sounds with violinist Patti Weiss and how this new album was born. Head over to www.bobbralove.com to check out the album and find out all the info! -FREE SHIPPING from Shop Tour Bus Use The PROMO CODE: nosimpleroad -20% OFF & FREE SHIPPING IN THE US from The Grateful Mountain with the PROMO CODE: NSR20 INTRO MUSIC PROVIDED BY - Young & Sick MUSIC IN THE COMMERCIALS BY AND USED WITH PERMISSION OF: CIRCLES AROUND THE SUN OUTRO MUSIC BY AND USED WITH PERMISSION OF: CHILLDREN OF INDIGO No Simple Road is part of OSIRIS MEDIA. Osiris Media is the leading storyteller in music, combining the intimacy of podcasts with the power of music

(Kevin) +++Playlist: Elizabeth Cotten - Hallelujah, It Is DoneMark Van Hoen - EasterArvo Pärt, featuring Tonus Peregrinus, Antony Pitts - Jesus Is Crucified At GolgothaBrian John McBrearty - ReceivingNico Georis - Who Knows The PathT. Gowdy - PentaarcNYX - Bright TonguesKara-Lis Coverdale - GraftsEcovillage - ResurrectionSean Curtis Patrick - Laughing Stock IIK. Leimer - BirdsongJames Elkington - Golden KBill Orcutt - The Life of JesusKirk Barley - LuxLaurie Torres - DuvetForest Tate Fraser - Fallen Organ

Marta~*Playlist: Jonas Gewald - FlowingVeryan - Lift HandsCephas Azariah - RecomposeANNA - Another DreamJelena Ciric, Snorri Hallgrimsson - Green GrassVivian Roost - InvisibleHill - The PeacemakersFreya Lily - SoaringIKSRE - Crimson - Clariloops reworkABBOTT, Canea Quartett - DranggMartin Herzberg - Hold on TightJeff Roy, Austin Ray - OceanChiara Dubey - Lullaby for the Weird OnesKevin Stahl - DriftsNils Frahm - CantonTeruyuki Nobuchika - kokyuPeter Gregson - SphereGood Weather for an Airstrike - Susami (Elskavon Remix)Keigo Tanaka - UpriseWe Dream of Eden, Christopher Galovan - Reaping in JoyLeaving Laurel - holding on like it's the last timeBenoit Pioulard, Voga - Try to be More Realistic - Voga RecycleFor LA, Vol 1 - translucent veilAyami Suzuki - Mugenkaidan

Musikmachen ist schön, aber was, wenn die Kohle nicht reicht? Und was, wenn man noch viel mehr Talente hat? Laury und Uli tauchen in die Zweitberufe von Musikschaffenden ein und finden heraus, wie das Musik-Geschwisterpaar Herschel die Infrarotstrahlung und den Uranus entdeckt hat, wie es ist, sowohl Dirigent als auch Anästhesist zu sein, warum John Cage in Pilze gemacht hat und dass Johann Sebastian Bach Anteilseigner eines Silberbergwerks war.

Episode 166 Chapter 26, Early Computer Music (1950–70). Works Recommended from my book, Electronic and Experimental Music  Welcome to the Archive of Electronic Music. This is Thom Holmes. This podcast is produced as a companion to my book, Electronic and Experimental Music, published by Routledge. Each of these episodes corresponds to a chapter in the text and an associated list of recommended works, also called Listen in the text. They provide listening examples of vintage electronic works featured in the text. The works themselves can be enjoyed without the book and I hope that they stand as a chronological survey of important works in the history of electronic music. Be sure to tune-in to other episodes of the podcast where we explore a wide range of electronic music in many styles and genres, all drawn from my archive of vintage recordings. There is a complete playlist for this episode on the website for the podcast. Let's get started with the listening guide to Chapter 26, Early Computer Music (1950–70).  from my book Electronic and Experimental music.   Playlist: EARLY COMPUTER MUSIC (1950–70)   Time Track Time Start Introduction –Thom Holmes 01:40 00:00 1.     Tones from Australia, 1951. All produced using the CSIR Mark 1 computer built at the CSIR's radio-physics division in Sydney. The computer had a speaker—or hooter—to signal when operations were completed. A clever programmer thought of manipulating the signal tones into a melody. 02:18 01:42 2.     Alan Turing's computer music. 1951. Recording made of tones generated by the mainframe computer at the Computing Machine Laboratory in Manchester, England. Snippets of the tunes God Save the King, Baa, Baa Black Sheep, and Glenn Miller's swing classic In the Mood. Plus, the voices of computer lab members listening to the sound as it was recorded. Original acetate recording from 1951 restored by University of Canterbury composer Jason Long and Prof Jack Copeland. 01:55 02:36 3.     Max Mathews, “Numerology” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. While working at Bell Labs in telecommunications research, Max Mathews was one of the earliest computer engineers to use a general-purpose computer to program music and digitally synthesize musical sound. His programming language Music I allowed composers to design their own virtual instruments, a breakthrough during those pioneering days of computer music. “Numerology” was composed to demonstrate the various parameters, or building blocks, available to the composer using this programming language: vibrato (frequency modulation), attack and decay characteristics, glissando, tremolo (amplitude modulation), and the creation of new waveshapes. 02:49 04:38 4.     John Robinson Pierce, “Beat Canon” (1960). Introduced by a narrator. From the album Music From Mathematics, Bell Telephone Laboratories. Played by IBM computer and direct to digital sound transducer. 00:52 07:28 5.     James Tenney, “Noise Study” (1961). So named because “each of the ‘instruments' used in this piece includes a noise-generator.” 04:24 08:20 6.     “Bicycle Built For Two (Accompanied)” (1963) From the demonstration record Computer Speech - Hee Saw Dhuh Kaet (He Saw The Cat), produced by Bell Laboratories. This recording contains samples of synthesized speech–speech artificially constructed from the basic building blocks of the English language. 01:17 12:42 7.     Lejaren Hiller, “Computer Cantata, Prologue to Strophe III” (1963). From the University Of Illinois. This work employed direct computer synthesis using an IBM 7094 mainframe computer and the Musicomp programming language. 05:41 14:00 8.     J. K. Randall, “Lyric Variations For Violin And Computer” (1965-1968). J. K. Randall's piece had a complex section that pushed the limits of computer processing power at the time. Although the section consisted of only 12 notes, each note was 20 seconds long. Each note overlapped with the next for 10 seconds, making the total length of the section only about 2 minutes. But this required 9 hours to process on one of the fastest computers of the day. 03:34 19:40 9.     John Robinson Pierce, “Eight-Tone Canon” (1966). “Using the computer, one can produce tones with overtones at any frequencies.” Produced at Bell Telephone Laboratories. 03:53 23:14 10.   Pietro Grossi, “Mixed Paganini” (1967). “Transcription for the central processor unit of a GE-115 computer of short excerpts of Paganini music scores. Realized at Studio di Fonologia musicale di Firenze (Italy). 01:46 27:08 11.   Pietro Grossi, “Permutation of Five Sounds” (1967). Recording made on the Italian General Electric label. Realized at Studio di Fonologia musicale di Firenze (Italy). Distributed in 1967 as a New year gift by Olivetti company. 01:33 28:54 12.   Wayne Slawson, “Wishful Thinking About Winter” (1970). Produced at Bell Telephone Laboratories. 03:53 30:26 13.   John Cage and Lejaren Hiller, “HPSCHD” excerpt (1967-1969). The piece was written for Harpsichords and Computer-Generated Sound Tapes. Hiller and Cage staged a lively public performance in 1968 at the University of Illinois in Urbana. The first 10,000 individual recordings came with an insert in the form of a computer printout insert designed to allow the listener to program their own performance. And I quote from the jacket: "The computer-output sheet included in this album is one of 10,000 different numbered solutions of the program KNOBS. It enables the listener who follows its instructions to become a performer of this recording of HPSCHD. Preparation of this material was made possible through the Computing Center of the State University of New York at Buffalo." I happen to have three copies of this album, each with the printout. 07:20 34:16 14.   Jean-Claude Risset, “Computer Suite From "Little Boy" (1968).  Realized at Bell Laboratories. 04:28 41:46 15.   Peter Zinovieff, “January Tensions” (1968). Zinovieff's notes, from the album: “Computer composed and performed. This piece is very much for computer both in its realization and composition. The rules are straightforward. The computer may begin by improvising slowly on whatever material is first chooses. However, once the initial choices are made then these must influence the whole of the rest of the composition. The original sounds must occasionally be remembered and illustrated but a more and more rigid structure is imposed on the randomness. The piece was electronically realized and composed in real time by an 8K PDP8/S and electronic music peripherals.” 09:48 46:12 16.   Barry Vercoe, “Synthesism” (1969). Realized in the Computer Centers of Columbia and Princeton Universities using MUSIC 360 for the IBM 360 mainframe computer. Vercoe authored this musical programming language. 04:33 56:00 17.   Charles Dodge, “The Earth's Magnetic Field” excerpt (1970). Composer Charles Dodge helped close the gap between computer music and other electronic music practices in 1969– 70 by working on computer code at Princeton University and then traveling to Bell Labs to have the code synthesized by a mainframe computer. The work, “Earth's Magnetic Field” (1970) was an outcome of this process. Dodge realized this piece by fusing computer composition with synthesis, one of the earliest examples of a practice that would become the norm many years later but that was quite difficult at the time. He used a “general- purpose sound synthesis program” written by Godfrey Winham at Princeton University. Every sound in the piece was computed into digital form using the IBM/ 360 model 91 at the Columbia University Computer Center and then converted into analog form at the Bell Telephone Laboratories. 07:45 01:00:32 18.   Irv Teibel, "Tintinnabulation (Contemplative Sound)" from Environments (New Concepts In Stereo Sound) (Disc 2) (1970 Syntonic Research).  One side of the record is a rare work of purely electronic computer music in a series that otherwise consisted of natural ambient sounds. It used computer-generated bell sounds, falling back on Teibel's experience processing sounds on an IBM 360 mainframe computer at Bell Labs. The record was promoted for meditation. A sticker on the cover read, "A Sensitizer for the Mind." From the liner notes: “As an illustration of the possibilities currently under examination, Syntonic Research decided to experiment with bell sounds as an environmental sound source. . . . Tintinnabulation can be played at any speed, from 78 to 16 rpm, in full stereo. At different speeds, the sounds change in tone and apparent size, although the harmonics remain unchanged. The effect, unlike real bells, is fully controllable by the use of your volume, bass, and treble controls.” 30:10 01:08:16   Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

Die Ausstellung „Fünf Freunde“ im Museum Brandhorst und Museum Ludwig geht den vielfältigen Beziehungen zwischen John Cage, Merce Cunningham, Jasper Johns, Robert Rauschenberg und Cy Twombly nach. Hier entlang geht’s zu den Links unserer Werbepartner: https://detektor.fm/werbepartner/kunst-und-leben Den kostenlosen Monopol-Newsletter gibt’s auf https://www.monopol-magazin.de/ >> Artikel zum Nachlesen: https://detektor.fm/kultur/monopol-podcast-fuenf-freunde

(Kevin)Playlist: Adrian Crowley - Brother Was A RunawayMess Esque - Crow's Ash TreeAlabaster DePlume - Too TrueErlend Apneseth - I nattVega Trails - When this is OverBrian John McBrearty, featuring Matt Douglas + Ryan Jewell - BelievingWalt McClements, featuring Rachika Nayar - SirensGregory Uhlmann, Josh Johnson, Sam Wilkes - The Fool on the HillMichael Grigoni * Pan•American - New World, Lonely RideMichael Scott Dawson - SummeretteStein Urheim - LarsonÅ Asher - Yates - Terra Pt. 2The Green Kingdom - Sea PinesGunn - Truscinski Duo - For IkaJames Elkington - The Equal SpacingJames Blackshaw - Unraveling In Your Handsmegabasse - Suogna PiazzataJung People - Polite ConversationDaniel Bachman - While you gazeJeremy Young - Whirld, Pt. IIDylan Golden Aycock - Old HauntAndy Cartwright - Jade SurfaceGlåsbird - 2022

“John Cage bemängelte an der 12-Ton-Kompositionsmethode, dass sie die Null nicht berücksichtige. Auch 10 aristotelische Kategorien könnten die Belange der Welt nur unvollständig beschreiben wie in ‘Aristo Games'. Es fanden allenfalls Umschreibungen oder Verschreibungen statt. Material blieb liegen, das inkompatibel schien. ‘Aristo Games – Paralipomena” präsentiert nun dieses Nachtrags- und Zusatzmaterial als Zweitentwurf wie Drittübersetzung - dem Hörer zweisprachig in Gertrude Steins Langgedicht ‘Sacred Emily'” (Hermann Kretzschmar) Mit: Leslie Malton, Jeremy Mockridge, Caroline Junghanns Komposition und Regie: Hermann Kretzschmar SWR 2025 – Premiere

“John Cage bemängelte an der 12-Ton-Kompositionsmethode, dass sie die Null nicht berücksichtige. Auch 10 aristotelische Kategorien könnten die Belange der Welt nur unvollständig beschreiben wie in ‘Aristo Games'. Es fanden allenfalls Umschreibungen oder Verschreibungen statt. Material blieb liegen, das inkompatibel schien. ‘Aristo Games – Paralipomena” präsentiert nun dieses Nachtrags- und Zusatzmaterial als anagrammhafte Nonsens-Hülle hinterhergeworfen.” (Hermann Kretzschmar) Mit: Leslie Malton, Jeremy Mockridge, Caroline Junghanns und der Frankfurter Kantorei unter Winfried Toll Komposition und Regie: Hermann Kretzschmar SWR 2025 – Premiere

John Cage was an amazing artist breaking the norms with his amazing selection of work. Known for his mute performances John Cage took inspiration from practices like Zen Buddhism to enhance his work . Come along with Kimberly, Christopher and Alexander to discuss John Cage's 4 '33 and How the work changed Our view on music and performance arts. 

What happens when music is made of silence? In thisepisode, Javier, Valentina, and Mayah dive into thegroundbreaking and controversial work of art JohnCage's 4'33”. We explore how this piece challenges thevery definition of music, its impact on the art world, andwhy it remains as thought provoking today as it was at itsdebut. We discuss the public's reaction to its premiere,its ongoing influence in the worlds of music andconceptual art, and how it continues to shape the wayartists and listeners think about sound today. Join us as webreak down the history, philosophy, and culturalsignificance of this revolutionary piece.

Pending.

April 1, 1978. Avant-garde musician John Cage gives an impromptu performance of his most famous work.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today on the Stolen Arts podcast... Tim will talk to Sara about the inspirational artist John Cage. They will discuss his work, influence, and specifically his 4'33" piece. This episode will delve into topics such as what makes something art, what makes a piece of art music, and should 4'33" by John Cage be considered as either of these? Tune in for some interesting creative discussions. Music Credit -The Guild of Ambience. “Forest Sounds | Woodland Ambience, Bird Song.” YouTube, 5 Apr. 2017, www.youtube.com/watch?v=xNN7iTA57jM&t=3396s.

What is music? What is art? Can silence be asymphony? Join Ulises, Maria and Jalia as theydissect John Cage's infamous "4'33"," a piece thatdares to challenge everything we think we knowabout sound and artistic expression. Was Cage amusical genius, a philosophical provocateur, orboth? We delve into the ambient sounds that makeup this controversial work, exploring the thin linebetween performance and perception. If you've everquestioned the boundaries of art and music, orsimply want to listen to a lively debate about thesound of silence, this episode is for you. Tune in andopen your ears to a whole new world of listening.

In this thought-provoking episode, Group1013, featuring Mikhail, Gio, and Elsie, dives into theworld of John Cage's most infamous and misunderstoodcomposition, 4'33”. Is it music? Is it art? Or is itsomething entirely different?Join us as we explore the philosophical, artistic, andcultural implications of a piece that invites us to listen in anew way. From Zen Buddhism and avant-gardeperformance to unexpected background noises andimpromptu performers, we explore how 4'33” challengesthe very definition of music and art. Whether you're aseasoned music lover or a curious newcomer, thisepisode will change the way you hear the world.

Playlist: Elskavon - Could it Be Any Other WayLuke Howard, Budapest Art Orchestra - Passion / Sleep5th Dimension String Quartet - To Capture the InfinitePoppy Ackroyd - Notes on WaterOlivia Belli - TriuneBrique a braq - Smoking et robe du soirPiotr Wiese - PatheKwak Jin Eon - Name (Inst)Muriel Bostdorp - WhispersCedric Vermue - We Came and LeftCyrille Champangne - Suspended MemoriesJim Perkins, Curve Ensemble - BreachingAndrew Tasselmyer & Blurstem - RayEast Forest - Old Dreammarine eyes - summer whisperErland Cooper - Asleep On the WingPenelope Trappes - A RequiemJun Futamata - #bfbfJesse Marcella - WingsGood Weather for an Airstrike - TherouxAbstract Aprils - If You Say.foundation - timberglade

Roberto Galimberti"Di erbe e di fiori"Erbari d'autoreDa Besler a Penone, da De Pisis a CageMostra aperta fino al 22 giugno 2025Castello di Miradolo, San Secondo di PineroFondazione Cossowww.fondazionecosso.com Il termine “erbario” porta con sé alcuni concetti come collezione, classificazione, catalogazione, studio, memoria: questa dimensione metodologica e formale non ha soltanto caratterizzato la produzione di erbari storici che coniugavano la conoscenza del reale a una innegabile qualità estetica, ma ha anche suggerito ad artisti moderni e contemporanei differenti possibilità di esplorazione di linguaggi e di relazione con la natura e i suoi elementi.La mostra Di erbe e di fiori. Erbari d'autore. Da Besler a Penone, da De Pisis a Cage, in programma al Castello di Miradolo di San Secondo di Pinerolo (TO) dal 22 marzo al 22 giugno 2025, intende costruire un dialogo tra alcune pagine di erbari storici con la visione di alcuni artisti che attorno alla riflessione sulla materia e sugli elementi della natura hanno costruito opere che sono specchio del proprio tempo e del presente. Gli erbari storici di Carlo Allioni, Basilius Besler, Carlo Lupo, Pierre Edouard Rostan, Camillo Sbarbaro, Ada e Alfonso Sella diventano un controcanto alle opere di Vincenzo Agnetti, Björn Braun, Chiara Camoni, Adelaide Cioni, Betty Danon, Filippo De Pisis, Piero Gilardi, Giorgio Griffa, Wolfgang Laib, Ugo La Pietra, Christiane Löhr, Mario Merz, Helen Mirra, Richard Nonas, Giulio Paolini, Giuseppe Penone, Robin Rhode, Thomas Schütte, Alessandra Spranzi e Michele Zaza. Al di fuori delle sale, il Parco del Castello di Miradolo, con le sue essenze, le sue specie, le sue architetture vegetali, a dialogare con l'esposizione - curata dalla Fondazione Cosso e da Roberto Galimberti, con la consulenza iconografica di Enrica Melossi - e a mostrare un tempo, anch'esso sospeso tra storia e futuro.   L'esposizione è accompagnata da un'inedita installazione sonora, a cura del progetto artistico Avant-dernière pensée, dedicata al brano “In A Landscape” di John Cage del 1948. Una lenta sequenza al pianoforte di note omoritmiche, separate tra loro dallo stesso intervallo, sembra sottolineare la possibilità di ascoltare e, insieme, di essere “dentro” l'ascolto, in un paesaggio sonoro da osservare con attenzione, da vicino, come un quadro o le pagine di un erbario. Il sistema di diffusione del suono progettato per le sale espositive costruisce lo spazio, ne muta i confini percettivi e dialoga con la dimensione visiva, in un continuo controcanto in cui la cadenza dei suoni sembra confondersi con l'incedere dei passi di chi osserva.Parallelamente alla mostra si articolerà il progetto “Da un metro in giù”: un percorso didattico per i visitatori di tutte le età per imparare, con gli strumenti del gioco, a osservare le opere d'arte e la realtà che ci circonda.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

"The piece combines a field recording taken from UNESCO World Heritage sites with instrumentation that can be electronic or acoustic. Its aesthetics are based on the theme of the sampler: the sea and the waves. "Posidònies i ones." serves as the epilogue to a series of ten compositions grouped under the title: "Hipervida. Book 1. Abans que jo, tots els éssers." "One spring, we collected posidonia from the beaches of Mallorca. Back then, my young daughter still could not speak—she only laughed and babbled while playing, her feet in the water, among the waves and the posidonia. "The only inheritance I have left from that day is the dried posidonia resting on my bookshelf, between John Cage's books and a moudy orange. "My daughter now speaks, and although she still laughs, she no longer plays as much. In a way, she is no longer the same. Though I must admit, I have also changed. In an impermanent existence, the only thing that anchors us to ourselves and protects us from the waves of the infinite cycle of births and deaths is the inheritance found in objects that symbolize memory, like a dried posidonia far from the sea. "Following the idea of waves as a representation of the balance between heritage and impermanence, "Posidònies i ones." is an algorithmic composition that can be performed by either a computer or human musicians. "Microcomposition: Each instrument has the same possibilities (pitch and note duration within a measure), representing the drops of water that, when combined, form the ocean. "Macrocomposition: The sonic dynamics of a wave are mimicked by gradually adding instruments and then removing them. "The composition and the recording of the electronic version were created using the "Algorithmic Text Sequencer" uPIGr, an online editor and interpreter for the JavaScript programming language." Deià beach waves reimagined by Miquel Parera & Gonzorobot. ——————— This sound is part of the Sonic Heritage project, exploring the sounds of the world's most famous sights. Find out more and explore the whole project: https://www.citiesandmemory.com/heritage

Today we explore the mythology around John Cage's visit to the anechoic chamber. The chamber was designed to completely eliminate echoes. Ironically, the tale of Cage's experience in that space has echoed through history, affecting our understanding of silence, sound, and the self. But what do we really know about what happened there? And what could we ever know about such an event? In this audio essay, based on a piece that first appeared in the Australian Humanities Review, Mack Hagood explores the relationship between sound, self, and meaning-making. To use a term Cage loved, the truth is indeterminate.  For our Patreon members we have bonus content: Mack's “What's Good” segment. Join at patreon.com/phantompower.  Writing and media content featured in this episode:  Mack's essay “Cage's Echoes of the Anechoic,” in AHR Issue 70 (2022).  Nam June Paik's 1973 video Global Groove  John Cage's 1959 album with David Tudor, Indeterminacy  John Cage's book Silence (Wesleyan, 1961). The video Can Silence Actually Drive you Crazy by Veritasium  Terry Gross's 2014 Fresh Air interview with Trevor Cox  The album Naxi Live by Jang San and the Dayan Naxi orchestra  Shani Diluka's performance of “Glassworks: Opening” by Philip Glass  Amit Pinchevsky's book Echo (MIT, 2022) Helen Rees' book Echoes of History: Naxi Music in Modern China (Oxford, 2011) Today's show was written and edited by Mack Hagood.  Original music and sound design by Mack Hagood.  Special thanks to Monique Rooney and Australian Humanities Review 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

Today we explore the mythology around John Cage's visit to the anechoic chamber. The chamber was designed to completely eliminate echoes. Ironically, the tale of Cage's experience in that space has echoed through history, affecting our understanding of silence, sound, and the self. But what do we really know about what happened there? And what could we ever know about such an event? In this audio essay, based on a piece that first appeared in the Australian Humanities Review, Mack Hagood explores the relationship between sound, self, and meaning-making. To use a term Cage loved, the truth is indeterminate.  For our Patreon members we have bonus content: Mack's “What's Good” segment. Join at patreon.com/phantompower.  Writing and media content featured in this episode:  Mack's essay “Cage's Echoes of the Anechoic,” in AHR Issue 70 (2022).  Nam June Paik's 1973 video Global Groove  John Cage's 1959 album with David Tudor, Indeterminacy  John Cage's book Silence (Wesleyan, 1961). The video Can Silence Actually Drive you Crazy by Veritasium  Terry Gross's 2014 Fresh Air interview with Trevor Cox  The album Naxi Live by Jang San and the Dayan Naxi orchestra  Shani Diluka's performance of “Glassworks: Opening” by Philip Glass  Amit Pinchevsky's book Echo (MIT, 2022) Helen Rees' book Echoes of History: Naxi Music in Modern China (Oxford, 2011) Today's show was written and edited by Mack Hagood.  Original music and sound design by Mack Hagood.  Special thanks to Monique Rooney and Australian Humanities Review Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

This time on the Spindle, John and Marc dig into the 1993 Stereolab 7-inch "John Cage Bubblegum" b/w "Eloge D'Eros," with their special guest Mike Schulman, who released this great record on his label Slumberland, which continues to put out great music to this very day. Hear Mike tell the tales of hooking up with this great band—and putting pieces of bubblegum inside the 7-inch sleeve!Call us anytime at 1-877-WASTOIDS. More podcasts and videos at WASTOIDS.com | Follow us on Instagram and YouTube.

Join Jordan, Pitt Girl, Commish, and Big Sky Brigit, along with VP of Podcast Production, Arthur. Commish hit update and restart on this laptop so he has no clue what happened in the first 20 minutes of the podcast due to these stupid updates, and he is the one that writes these episode descriptions, the notes say John Cage 4:33, Trace McSorely, then Commish is back for NIU going to the Horizon for sports other than football, we shout out the Unofficial Mississippi Valley State CBB account and the Prairie View A&M PA Announcer's call of the THREEEEEEEEEEEEE POINTER, Big Sky Brigit discusses the upcoming Iditarod, we sponsored a musher, she answers your questions and Commish has another CONDUCTOR Series (Combing Old Newspapers Detailing Upstart College Teams On Railways) for the (likely) MOST SICKOS TEAM OF ALL TIME, 1939 TEXAS TECH and much, much more!!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Margaret talks even further with Jolie Holland about a multigenerational punk band from the 70s that introduced punk ethics to punk rock. https://expmag.com/2019/01/when-your-real-life-friend-is-your-facebook-troll/ Rebel Clothes, Rebel Songs, Rebel Pose: Anarchists on Punk Rock 1977-2010, anonymous https://www.ubu.com/papers/cage_montague_interview.html John Cage, Anarchy The Story of Crass, George Berger https://crosseyedpianist.com/2017/07/15/silence-presence-and-challenging-conventions-thoughts-on-john-cages-433/ https://www.soundoflife.com/blogs/mixtape/history-punk-music https://fastnbulbous.com/punk/ https://www.udiscovermusic.com/stories/punk-politics-music-rebellion/ https://beltmag.com/mc5-detroits-godfathers-of-punk/ https://dangerousminds.net/comments/our_wedding_crasss_magnificent_romance_mag_prank https://www.fifthestate.org/archive/301-february-26-1980/british-anarchists-found-not-guilty/ https://thehippiesnowwearblack.org.uk/2016/03/12/vi-subversa-and-poison-girls-an-appreciation/ https://www.ukrockfestivals.com/henge-history-80.html https://jprobinson.medium.com/the-rotten-etymology-of-punk-86db2fcc16f8 https://www.cbc.ca/strombo/news/crass-thatchergate-prank https://libcom.org/article/stop-city-demonstrations-1983-1984See omnystudio.com/listener for privacy information.

Margaret talks further with Jolie Holland about a multigenerational punk band from the 70s that introduced punk ethics to punk rock. https://expmag.com/2019/01/when-your-real-life-friend-is-your-facebook-troll/ Rebel Clothes, Rebel Songs, Rebel Pose: Anarchists on Punk Rock 1977-2010, anonymous https://www.ubu.com/papers/cage_montague_interview.html John Cage, Anarchy The Story of Crass, George Berger https://crosseyedpianist.com/2017/07/15/silence-presence-and-challenging-conventions-thoughts-on-john-cages-433/ https://www.soundoflife.com/blogs/mixtape/history-punk-music https://fastnbulbous.com/punk/ https://www.udiscovermusic.com/stories/punk-politics-music-rebellion/ https://beltmag.com/mc5-detroits-godfathers-of-punk/ https://dangerousminds.net/comments/our_wedding_crasss_magnificent_romance_mag_prank https://www.fifthestate.org/archive/301-february-26-1980/british-anarchists-found-not-guilty/ https://thehippiesnowwearblack.org.uk/2016/03/12/vi-subversa-and-poison-girls-an-appreciation/ https://www.ukrockfestivals.com/henge-history-80.html https://jprobinson.medium.com/the-rotten-etymology-of-punk-86db2fcc16f8 https://www.cbc.ca/strombo/news/crass-thatchergate-prank https://libcom.org/article/stop-city-demonstrations-1983-1984See omnystudio.com/listener for privacy information.

Best Pick with John Dorney, Jessica Regan and Tom Salinsky Episode 315: Jeanne Dielman Released 12 February 2025 For this episode, we watched the 1975 film Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles, written and directed by Chantal Akerman and starring Delphine Seyrig. As well as holding a 95% rating on Rotten Tomatoes, the film unexpectedly topped the 2022 Sight & Sound poll of the greatest movies ever made. We take the opportunity to explore what this poll is, how it has changed over seventy years, and what films we would have put on our lists, had we been asked. https://princecharlescinema.com/savethepcc/ Sight and Sound Top Tens https://bestpickpod.com/wp-content/uploads/2025/02/The-Sight-and-Sound-Survey-top-tens-1.pdf https://thefilmstage.com/watch-a-behind-the-scenes-documentary-on-the-making-of-jeanne-dielman https://www.slantmagazine.com/film/q-a-with-chantal-akerman-jeanne-dielman-three-decades-later/ John Cage's 4'33” https://www.youtube.com/watch?v=JTEFKFiXSx4 BEST PICK – the book is available now from all the usual places, and the paperback is out on 18 February. From the publisher https://tinyurl.com/best-pick-book-rowman UK Amazon https://amzn.to/3zFNATI US Amazon https://www.amzn.com/1538163101 UK bookstore https://www.waterstones.com/book/9781538163108 US bookstore https://www.barnesandnoble.com/w/best-pick-john-dorney/1139956434 Audio book https://www.audible.co.uk/pd/Best-Pick-Audiobook/B09SBMX1V4 To send in your questions, comments, thoughts and ideas, you can join our Facebook group, email us on bestpickpod@gmail.com, or find us on Bluesky. You can also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month, but please be aware that future releases will continue to be sporadic.