Podcast appearances and mentions of John Cage

Inauguriamo una rubrica, “Le figure Chiave del Flamenco”, e parliamo di Vicente Escudero, un bailaor fondamentale nella storia del flamenco. Nasce a Valladolid, in Castiglia, nel 1888 lontano dalla cultura del flamenco. Fin da bambino aveva una passione smodata per il baile flamenco, il padre era calzolaio ed era disperato perché Vicente rompeva tutte le scarpe ballando. Qualunque scusa era buona per lui per ballare e soprattutto per creare ritmo. Batteva i piedi sulle bocche dei tombini di ghisa, e ognuna aveva un suono differente e questo lo affascinava tantissimo. Il padre lo inviò ad imparare un mestiere in una tipografia, ma Vicente era più interessato a creare ritmi sulle macchine da stampa che ad imparare ad usarle. Nella sua vita i suoni metallici e delle macchine furono un amore costante. L'approccio al flamenco è totalmente autodidatta, e volle capire la logica profonda del flamenco per cui visse anche per un periodo a Granada, al Sacromonte. Ai cafés cantantes era felice di ascoltare i bravissimi musicisti che ci lavoravano, ma non venne accolto nell'ambiente flamenco perché faceva cose e suoni molto particolari, e i musicisti non si trovavano bene con lui. Incontro fondamentale fu con colui che definì e riconobbe per tutta la vita come il suo maestro, Antonio de Bilbao, al Café de las Columnas di Bilbao. Nel 1908/1909 fugge a Lisbona per evitare di fare il servizio militare, e da lì va a Parigi. A Montmartre vive fra gli artisti delle avanguardie, e diventò amico di tutti gli intellettuali, nonostante non avesse lui stesso una istruzione, scriveva molto male, ma aveva una intelligenza molto acuta e brillante. Veniva molto affascinato da questi artisti, soprattutto pittori, che avevano tanto desiderio di eliminare ciò che non era essenziale. A Vicente interessavano linee rette, geometriche, senza spazio per strizzare l'occhio al pubblico, a differenza di ciò che si faceva all'epoca nei cafés cantantes. Parigi lo consacra come artista flamenco riconosciuto, in America viene considerato come il miglior ballerino del mondo, Manuel de Falla lo contratta per mettere in scena El Amor Brujo a Parigi con Antonia Mercé La Argentina. Ma la Spagna lo riconosce finalmente come ballerino molto tardi, nel 1930, all'età di 42 anni! E comunque il pubblico spagnolo intellettuale lo capiva ma il largo pubblico no. Fin da bambino era affascinato dai suoni meccanici e in un esempio di lotta fra l'uomo e la macchina, danzò con due motori elettrici nascosti dietro le quinte del teatro, circa trent'anni prima che John Cage rendesse celebre il concetto di musica concreta, e che facesse queste opere di rottura, come “4'33””, in cui per 4 minuti e 33 secondi il pianista chiude il pianoforte e la musica diventa i rumori ambientali. L'interesse di Vicente Escudero per il suono lo portò a cercare suoni nel silenzio, fatti con le unghie, con le mani, si costruì nacchere di metallo per aver suoni nuovi. Per primo ebbe il coraggio di ballare por Seguiriya, che era considerato il tempio del cante e che Escudero stesso diceva di ballare senza respirare per non profanare il tempio. Ma da allora in poi divenne possibile ballare por Seguiriya, e la cosa è molto importante: il flamenco non accetta le innovazioni con facilità. Il suo lavoro sulla Seguiriya era anche molto teatrale, nella penombra, con cantaor e chitarrista illuminati in controluce, il bailaor al centro come se fosse la rappresentazione stessa della musica. Ebbe persino un passaggio in cui provò a cantare, con scarso risultato, e anche a dipingere e disegnare, per sperimentare tutto. Di lui restano poche testimonianze in video, soprattutto di quando era già anziano, e irrigidito dall'età e anche da una malattia degenerativa. La cosa più importante del suo lascito è il Decálogo del buen Bailarín, pubblicato nel 1951 a Barcellona, frutto delle sue riflessioni sul baile durate tutta la sua vita professionale. Stabilì 10 regole del baile maschile. Perché solo maschile? Secondo lui la donna, sempre ammesso che abbia profondità e capacità, è sempre bella, ma l'uomo che balla spesso è effeminato, ridondante e troppo ornamentato nei cafés cantantes. La Spagna di quell'epoca aveva in mente una netta distinzione fra i sessi. I principi del decalogo sono: bailar en hombre, senza essere effeminati, sobrietà senza eccessi e passi acrobatici da circo, e il movimento non è solo nel viso ma in tutto il corpo, soprattutto nelle gambe, girare i polsi con le dita unite (se no, se le dita anarchicamente vanno per conto loro sono movimenti da donna), fianchi fermi e verticali, bailar tranquillo e sereno senza correre, mantenendo un'armonia fra piedi, braccia e testa (con il naso fermo e tutto sincronizzato), un'estetica senza mistificazioni, ballare con abiti tradizionali e sobri, senza colori strani, aver varietà di suoni senza fare ricorso a strumenti che amplifichino il suono (forse non usava i chiodi). Difficilmente un bailaor applicava tutti questi punti, neppure Vicente stesso. Rispetto alle avanguardie artistiche, il decalogo arriva tardi, nel 1951. Il corpo si evolve sempre più lentamente rispetto alle avanguardie artistiche, e ha bisogno di più tempo: il pittore può cambiare pennello o colori, e infatti in tutte le avanguardie artistiche si parte sempre dalle arti figurative. Nella sua vita privata fu bohémien, visse con una ballerina flamenca cubana, Carmita García, e quando Carmita morì visse con la bailaora catalana María Márquez a Barcellona, con cui creò una piccola accademia di danza. La sua ultima esibizione come ballerino è del 1969 a 81 anni a Madrid. La sua importanza è di aver portato le avanguardie artistiche europee, cubismo, espressionismo, dadaismo, futurismo nel baile flamenco, senza scopiazzare i balletti russi o la danza moderna, creando un flamenco filosofico, che dialoga con Picasso, con Duchamp, mostrando che il flamenco può essere un sistema estetico con una teoria filosofica. Il suo “Mi Baile” uscito nel 1947 è un testo autobiografico e fu il primo testo del genere scritto da un bailaor. È stato molto studiato da Victoria Cavia Naya, che ha pubblicato nel 2002 per l'Università di Valladolid “Vicente Escudero baile y Vanguardia”, un ottimo studio su questo personaggio. Escudero sostituisce i braceos rotondi con linee rette essenziali, studia lo spazio scenico, cosa nuova nel flamenco, identifica il movimento fisico con l'emozione, in linea con l'espressionismo. Il Decalogo non è una gabbia ma una struttura che possa permettere al flamenco di durare senza snaturarsi. È interessante che un non gitano, non andaluso, autodidatta, riconosciuto più all'estero che in Spagna, parta da Parigi per fare un'operazione del genere! La sua figura ricorda tantissimo Israel Galván, che infatti nei suoi bailes fa un sacco di citazioni fisiche di Vicente. Il punto di vista è lo stesso: il baile come pensiero, come concetto, come filosofia. Le epoche storiche sono molto diverse, Galván nasce quasi un secolo dopo, nel 1973, destruttura il corpo del bailaor, rendendolo grottesco, animalesco, mentre Escudero vuole salvare la virilità sobria del baile maschile dalle frivolezze superficiali dei cafés cantantes. Sono ambedue stati molto radicali e probabilmente sono stati apprezzati più all'estero che in Spagna. Escudero ha segnato un prima e un dopo. Sono Sabina Todaro, mi occupo di flamenco e danze e musiche del mondo arabo dal 1985. Dal 1990 insegno baile flamenco a Milano e Lyrical Arab Dance.Mi ha sempre affascinata Vicente Escudero con la sua esigenza di dare regole precise. All'inizio ho visto più il suo aspetto sessista, ma oggi non c'è più questa grossa distinzione fra i sessi ballando. Ricordo che quando ho iniziato io gli insegnanti correggevano gli allievi maschi dicendo di non muovere le dita o di non alzare troppo le braccia. Ogni elemento ha portato un regalo che ha determinato il cammino dello sviluppo del flamenco. Se vogliamo capirlo, dobbiamo rispettarne tutti gli aspetti.  

Marta ~*Playlist: Jessie Marcella - Halo - DaySWIM - My Love (Orchestral)Hannah Peel, BeiBei Wang - Wild Geese ArriveH.Takahashi - Metabolism (Kohei Oyamada Remix)Lara Somogyi - mirabelKilometre Club - Ecstatic SilenceFischersund, Jonsi, Kjartan Holm, Sin Fang - Skiptir enguThor Harris - Perserverence as PrayerRobert Aiki Aubrey Lowe - Pathway to PowerJóhann Jóhannson, Robert Aiki Aubrey Lowe - End of Summer Part 3Wayne Patrick Garrett - Mystic GrottoNick Schofield - Joy CryBoards of Canada - You Retreat in Time and SpaceKalia Vandever - Waitingweareforests & Six Missing - ochre !Laurence Pike - Possible UtopiasChris Bartels, Harbor Fate - In the Small ThingsTruism - AntistaticWess Meets West - MilfordLUCHS - Chasing Cloud NineKeaton Henson, Ren Ford - Petrichor (feat. Ren Ford)Robinson's Village - Goth

(Kevin)Playlist: Mike Tod, featuring Opal Retzer, Zoe Basha - When They Ring the Golden BellsLucid 44 - Paint a Halo (2003)Bill Orcutt & Mabe Fratti - A Rural PenMagic Tuber Stringband - Soft and PliableMarisa Anderson - Pair of DudukArovane & Taylor Deupree - FaasDavid Eugene Edwards - Mercurial SilenceSeefeel - Falling FirstEuan Dalgarno, featuring Claire Shanley-Inglis - CatterlineAna Roxanne - xHiding Places - Forget it Allmichael scott dawson & anthéne - Resignation BellsMike Lazarev - Break OutClariloops - Soft UnfoldingWhitney Johnson, Lia Kohl, Macie Stewart - stone | pieceGintė Preisaitė - VigilanceCharbel Haber - I stutter when I speak of love and deathBlack Brunswicker - Forest BathingLaurence Pike, featuring Ben Lerner - Possible UtopiasFederico Durand - God Helg 1920F.S.BLUMM - Lichens FlechtenKiri Ra! - ReamAlaskan Tapes & Blu Miles - OverskyAlabaster DePlume - Not Now, JesusVioleta Vicci & Bruno Bavota - LuminaKronos Quartet - God Shall Wipe All Tears Away

In this Best of Awake in the World episode about the Heart Sutra, Michael explores how it functions to counter what John Cage calls “the authoritarian structures” of our minds, including the tendency to create “frames” and contract around our sense of separateness. Recorded on March 31, 2009. The Awake in the World podcast is brought to you by the generosity of our amazing Patreon supporters, making it possible for us to keep Michael's archive of teachings available to the public. To become a patron, visit: patreon.com/michaelstone.

Playlist: ford. - Sun Beams DownHanna Lindgren - YearningAtli Orvarsson - Flying - Talos RemixSaevar Johannsson, Mikael Lind - Words that Move (Rework)Chelsea McGough - Soft ShimmerEdna King - Tracing - Original MixKid Koala, Emiliana Torrini - CollapserEric Whitacre, Lavinia Meijer - Sing GentlyThe Cinematic Orchestra - Wait for Now - Mary Lattimore ReworkHigh Plains - Ten SleepHugar - Enigmaamiina - Leather and LaceCaroline Shaw, Attacca Quartet - Plan & Elevation: III. The Herbaceous BorderChristopher Tignor - We Keep This FlameErland Cooper - HaarTwinsleep, John Hayes, Maxy Dutcher - Dream Walker - Daigo Hanada ReworkAlexandra Streliski - Changing WindsEluvium - IndividuationBen Laver - Beneath the TreesBrambles - In the Androgynous DarkDean Valio - Warmest EmbraceBlitz//Berlin - NowhereJustin Wright - Drone III: SaudadeIan William Craig - Red Gate With StarlingMichael Scott Dawson, anthene - asleep insideJonsi, Alex Somers - Boy 1904Good Weather for an Airstrike, Dave Masters - not longAlan Watts, Superposition - DreamBon Vie - New EndingsHollie Kenniff, Kazuma Okabayashi - Infinite Blaze

(Kevin)Playlist: Sam Moss - EnoughBry Webb - Rivers of GoldSUSS - Sunset IXNorth Americans - The Last RockabillyJoe Harvey-Whyte & Paul Cousins - ForgetPan•American - Desert Under BridgeBlack Brunswicker - A Raga Called JohnMaria BC - PeacemakingGia Margaret - Phone ScreenBen Vida, featuring Felicia Atkinson - Unmake A WorldBen Seretan & John Thayer - Field Notes #2Mark Templeton - Standing on a HummingbirdBitter Fictions - Aquamarineweareforests & Six Missing - concepts (lilac)Sam Grassie - Thurso River BluesAmeel Brecht - DeserterShane Parish - LowrideJuha Mäki-Patola - Moment 8Matt Gold & Dustin Laurenzi - Devotional FadeJolanda Moletta, featuring Nightbird - SerpentineIKSRE - nullarbor (infinite horizon)David Moore / Bing & Ruth - Pointe NimbusKilometre Club - Sleeper HitMax Cooper - Chrysalis

Joe Stephens just helped close a 49-million-dollar raise at steno. He also became a sommelier on the side. David Cowen sits down with Joe, director of legal solutions, law school professor, and one of the most thoughtful voices in litigation technology, to ask the question that defines this moment: what would you not automate? The answer pulls in John Cage, Unreasonable Hospitality, and why curiosity may be the only truly un-automatable skill left. Key Topics Covered: Service vs. hospitality: The distinction that powers steno's brand and why feel beats commodity What Joe would not automate: Physical connection, hugging his kids, walking the dog John Cage's 4'33": Why four and a half minutes of silence is the hardest piece of music ever composed The sommelier hobby: How Joe spends part of his AI dividend on deep human pursuits Listening and curiosity: The two skills Joe tells his students matter more than any technical knowledge Voice to text vs. pen and paper: Why composing a prompt forces slow thinking Unreasonable hospitality: Why delivering experience — not service — is the central differentiator in legal tech

In a recent class with three intermediate students (8th-11th grade), we compared the music of Franz Schubert and Max Richter. Schubert was a prolific Austrian composer, writing at the end of the Classical period and the beginning of the Romantic period. During his brief life, he wrote over 1,500 works. He was known for his storytelling abilities: long, singing lines, dramatic mood swings, an improvisatory style that seems to wander at times, and emotional intensity.Max Richter is a contemporary German-born pianist and composer known for blending classical techniques with electronic, ambient, and minimalist styles. He names J.S. Bach as a key influence, and has championed the works of minimalists such as Arvo Pärt and John Cage. He drew inspiration from Schubert's Winterreise when creating his 2010 album Infra.In this episode, I'm taking you behind the scenes of this studio class, sharing the repertoire I introduced to my students, the discussion questions that guided our conversation, and a composition activity that students didn't want to end.For show notes + a full transcript, click here.Resources Mentioned*Disclosure: Some of the links in this episode are affiliate links, which means if you decide to purchase through any of them, I will earn a small commission. This helps support the podcast and allows me to continue creating free content. Thank you for your support!Ep. 083 - Bernstein & Bill Evans: Inside My Recent Intermediate Studio ClassEp. 077 - A New Approach to Teaching Group ClassesSchubert Piano Sonata No. 20 in A Major, D. 959: II. Andantino (Mitsuko Uchida)Richter “Andante” from In a Landscape (Max Richter)Schubert Impromptu No. 3 and Richter Infra 3 (Coversart)Songs Without Words(Felix Mendelssohn)Schubert Moments Musicaux No. 6 in A-flat Major (Alfred Brendel)Vladimir's Blues (Max Richter)Max Richter Piano Works(Max Richter)If you enjoyed this episode, please leave a review in Apple Podcasts >>Find me on Instagram: @ashleydanyewWhenever you're ready, here are three ways we can work together:1️⃣ Need fresh teaching ideas? In this quick 25-min. call, you'll get focused answers, creative ideas, and personalized advice for one teaching or business topic of your choice. Bring your questions for an ask-me-anything style session, and let's brainstorm strategies together.2️⃣ Have questions about teaching, running your studio, or managing your music career? In this 60-min call, you'll get personalized advice, creative ideas, and step-by-step strategies on up to 3-4 teaching/business topics of your choice. This session gives you the space to talk through your goals, ask questions, and get expert guidance.3️⃣ Develop the skills and strategies you need to plan the year, refine your teaching methods, and manage your time more effectively with a suite of online courses for music educators.

Playlist: Max Richter - On the Nature of Daylight - Orchestra VersionMichael Torke, Siwoo Kim, East Coast Chamber Orchestra - Last NightCris Derksen - We Danced Movement IDavid DeRose - defective in some way - InstrumentalRachel Portmas, Niklas Liepe, WDR Funkhausorchester - Tipping Points: III. WaterLudovico Einaudi - SequenceErland Cooper - Music for Growing Flowers (Nocturne) - Pt. 5Wilson Trouve - Still TogetherRebekah Reid - TIDESDiana Yukawa, Julia Kent - Look Inside You - Julia Kent ReworkLara Somogyi - sojournJames Heather, Mary Lattimore - And She Came Home - Mary Lattimore ReworkGlåsbird - OverwinterDan Romer - Out of Nothing, EverythingTom Leclerc - josie's watching butterfliesOld Amica - SandenKilometre Club - Sleeper HitGoldmund - Clear Lightstill fades, Louise Spencer - ReconcilliationVeronique Vaka - HvonnChristopher Willits - EmbraceIkoto Toma, Shin Kikuchi, synfilums - C.incisa - synfilums reworkFischersund, Joel Palsson, Kjartan Holm, Sin Fang - Þurrt hey í hlýrri hlöðuIan William Craig - The EdgesMaxy Dutcher, Veldros - Somewhereweareforests & Six Missing - highest form (roygbiv)Hirotaka Shirotsubaki - Sunset in Suma

This is a preview of a premium episode. To the listen to the full thing, head over to our Substack: https://designbetterpodcast.com/p/mason-currey At several points in his life, Eli imagined what it would take to become a full-time artist — a photographer or illustrator free from client work. What he didn't realize was that he already had an example of a different path right in front of him: his father, a practicing physician whose published poetry earned recognition from luminaries like John Ashbery. Mason Currey's most recent book explores these alternate paths. He's the author of Daily Rituals, the beloved book that catalogued the working habits of nearly 200 artists, writers, and composers. His new book, Making Art and Making a Living, goes deeper — into the financial realities, the schemes, the compromises, and the surprising strategies that creatives have used to keep their work alive across centuries. What he found is both humbling and strangely reassuring. Virginia Woolf had inherited investments. Kafka had insurance. Chantal Akerman had a cash register she skimmed from. John Cage had Italian game show winnings. And yet, running through all of it is the same question that Mason has been asking about his own life since the day he sat down to write a novel and couldn't: How am I going to pay for this? In this conversation, Mason walks us through the four funding models his book explores — family money, day jobs, patronage, and schemes — and what the lives of creatives from Kafka to Murakami can teach us about building a practice that actually lasts. Bio Mason Currey is the author of the Daily Rituals books, featuring brief profiles of the day-to-day working lives of more than 300 brilliant minds. His latest book, Making Art and Making a Living, was published by Celadon Books on March 31, 2026. Currey lives in Los Angeles and writes Subtle Maneuvers, a twice-monthly newsletter on the creative process. *** Premium Episodes on Design Better This is a premium episode on Design Better. We release two premium episodes per month, along with two free episodes for everyone. New premium subscriber benefit coming soon: we're launching a private Slack community…join now so you get access when it launches! And get a behind-the-scenes pass to every episode with The Roundup, where each week we bring you insights and actionable tactics from recent episodes. Premium subscribers get access to the documentary Design Disruptors and our growing library of books. You'll also get access to our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. And subscribers at the annual level now get access to the Design Better Toolkit, which gets you major discounts and free access to tools and courses that will help you unlock new skills, make your workflow more efficient, and take your creativity further. Upgrade to paid

Playlist: Jónsi - FlickerCaomhin O Raghallaigh & Thomas Bartlett - KestrelCephas Azariah - sakuraJulia Kent - DorvalLigeti Quartet, Anna Meredith - Blackfriars - String Quartet VersionDiana Yukawa - Unfolding - Akira Kosemura ReworkFelix Rosch - A Slow UndoPoppy Ackroyd - ShimmerSarah Watson - CirclesCatrin Finch - 13Hannah Frances, Mary Lattimore - Beholden to the Birds Murmuring AboveFrancesca Heart - EurybiaSophye Soliveau - InitiationKaitlyn Aurelia Smith - Remind MeSix Missing - Four Eightselvita - Beryllinekita kouhei - tinySketch #68Dor Wand - Feeling FunctionHanna Lindgren, Daniella Ljungsberg - Feels Like FloatingK. Leimer - Form 21 (Conveyance)still surface, Arbee - Be EasyHollie Kenniff, Kazuma Okabayashi - Whispering WindsKayla Pichichero - Havenstatecharlie dreaming, Peter Bark - New BeginningAnna Phoebe - Midnight Session II (Unravel)Kilometre Club, Michael Scott Dawson - EvergreenThe Volume Settings Folder - Two Brass FarthingsDavid Cordero, anthene - Flame and Rust

(Kevin)Playlist: Mike Tod - The Unquiet GraveSetting - Heard a BubbleSam Grassie, featuring Nathan Pigott on Saxophone - Kishor'sTanya Donelly and Chris Brokaw - Plaudat LetitiaAna Roxanne - Berceuse in A-flat Minor, Op. 45Gustav Kemps, featuring Lily Beltane - FogFallen Flowers - SpiralGia Margaret - Rotten Outroweareforests & Six Missing - Ochre !Charbel Haber - Phosphorus resting by the entrance of a quantic mazeAnenon - PostscriptPrymek & Sage - Red HealerGareth Davis & Scanner - Figurative LanguageA.Whales - Strange DreamAnita Tatlow - The Years BetweenPassepartout Duo - From NicosiaHoavi - Thousand CycleFlore Laurentienne - Petit matinSam Davidson, Yujin Honda, and Will Howie - Naked CommunicationDave Harrington, Max Jaffe, Patrick Shiroishi - sweat street 7-QS:ZBN9_Alaskan Tapes & Blu Miles, featuring Ann Annie - In-cloudAdam Schatz - A Test of Attention Spans and Contact Cleaner

An exploration of the multifaceted artistic practice of Margret Wibmer, whose work—spanning sculpture, video, photography, and participatory performance—facilitates dynamic, generative relationships between bodies, objects, and spaces. Powerful carriers of both presence and absence, the physically tangible and the unquantifiable, her artworks challenge perceptual and experiential frameworks—inviting us instead to inhabit alternative realities in which objects become subjects, temporalities intertwine, and bodies expand to reveal new forms and intelligence(s). In this wide-ranging conversation, Margret describes her strategies for disorienting the gaze, re-enlivening machine artifacts, and centering love as “a transformative force in a polarized world.” - Margret Wibmer website: https://margretwibmer.eu/ Instagram: @margret_wibmer - Others mentioned in this episode: James Baldwin, Reinhard Braun, John Cage, Ligia Clark, Julia Garimorth, John Halpern, Frida Kahlo, Ursula K Le Guin, Chus Martinez, Suzanne Morianz, Gary Reck , Astrid Roemer, Sae Shimizu, Camila Sposati, Banana Yoshimoto, May Ziadeh. - Image: Detail of a mask from the project Salon d'Amour (2016 and ongoing), photographed by Anastasia Nefedova. - AI Murmurings is a  project of Slow Research Lab Music by the inimitable Christopher Tignor Support for this episode of the podcast generously provided by The Resonance Foundation

Marta ~Playlist: Oliver Patrice Weder, Tristan Reverb - After AllFrancesca Guccione - Movement VIIIJoe Galuszka, Bristol Ensemble - Requiem for MumAlice Hebborn, Nao Momitani - Saisons - Movement 1Whitney Johnson, Lia Kohl, Macie Stewart - dawn | pulseNiklas Paschburg - MarcheSophia Nova - Pallet Town from Pokemon Red and BlueDanahyah Evans - Museum from Animal Crossing: New HorizonsAndrea Vanzo - Song of Storms from The Legend of Zelda: Ocarina of TimeKasper Bjorke Quartet - Passage VIGregory Uhlmann - DaysSAGES, Olafur Arnalds, Loreen - EchoesNatalia Tsupryk, Angus McBride - When it WasErland Cooper - Music for Growing Flowers (Nocturne)Dustin O'Halloran - GoldElskavon - Coastline (Fragments)Brian McBride - Skin in the DarkSophie Hutchings - Sleeping Giant - Digitonal ReworkHollie Kenniff, Human is Alive - Truth be ToldJuha Mäki-Patola - Moment 1Warmth - Nothing Left (Vestiges)Moshimoss - Unsaid

El día 22 de abril es el día mundial de la tierra, este planeta fascinante que nos acoge y que compartimos con millones de especies vegetales, animales y microorganismos, en un entramado de biodiversidad extraordinario. Desde esta casa del sonido queremos hacer un homenaje a nuestro planeta a través de sus sonidos y de las músicas inspiradas en sus ritmos y sus ciclos. Escucharemos sonidos y músicas de diferentes estilos lugares y contextos: sonidos y músicas del bosque Centroafricano estudiados por el etnomusicólogo Simha Aron, las voces de la selva de lluvia de Guinea Papúa recogidos por otro etnomusicólogo, Steven Feld, grabaciones de pájaros realizadas por Carlos de Hita, la obra de John Luther Adams, Become ocean, y una de las primeras obras de John Cage, In a Landscape,Escuchar audio

Show Notes: John Milbauer explains that, although he didn't graduate from Harvard, his education and career followed a unique path involving music and academia. John reflects that his focus has been a combination of music and ideas, but the structure of academia often separates the two. He mentions his role as Dean of the School of Music at DePaul University in Chicago where they are bringing the two together to provide musicians with a more holistic approach to creative development and expression. Choosing a Career Path At 17 John was accepted into both Harvard Summer School and Aspen Music Festival, and he had to choose which one to attend. He chose Harvard after the advice that young musicians should not pursue music if they can pursue a career in a different field that offers a better chance at success. He describes his love for music and his initial excitement at Harvard, including taking calculus and expository writing. John applied to Harvard's admissions in seventh grade; to him it represented a world of ideas, culture, sophistication and globalism that small town Wisconsin did not offer. Leaving Harvard for a Conservatory John recounts his childhood in northern Wisconsin and his early musical training with Joan Moffitt. He explains how many music instructors tend to teach students bad habits that have to be unlearned later. He explains that he needed purely technical training and he realized that Harvard wasn't set up to provide technical training in music studies, and so, in the middle of his sophomore year, John left Harvard for a conservatory. He details his educational journey from Harvard to Eastman to Juilliard, highlighting the importance of technical training, and the relationship between the mind and body when pursuing creative development.  A Career As a Pianist John pursued his career as a pianist. He talks about his time at the Hungarian Liszt Academy on a Fulbright. He explains the challenges of being a musician in their 30s, including the need for a stable job with benefits. John shares his experience as a piano faculty member at three universities, including the University of Arizona. He describes his decision to pursue a mid-career Master's in Public Administration at the Kennedy School of Harvard, influenced by his 25th reunion. Moving to a Career in Higher Education Administration John talks about going back to Harvard at 49. He realized he needed  broader knowledge, particularly about developing economies, and goes on to explain his decision to pursue a career in higher education administration, influenced by his Kennedy School education. John describes his role as Dean of the School of Music at DePaul University and his efforts to integrate music and academia. He highlights the importance of combining his musical skills with his understanding of economics and government, and shares three key takeaways from his Kennedy School education: economic complexity, the importance of imagination, and the need to resist quantifying good deeds. He explains how these lessons have influenced his work at DePaul, including his approach to growing the school's programs. Harvard Reflections John discusses the importance of imagination in music and the arts, influenced by his class with Roberto Unger. He highlights the role of values in his work, influenced by his class with Rohit Deshpanda at Harvard Business School. John also recounts a special performance with Steve Balderston, a long-time faculty member at DePaul, which helped build trust within the community, and shares a memorable performance of John Cage's Sonatas and Interludes for Prepared Piano, which attracted a full house.   A Vision for DePaul School of Music John discusses the importance of revealing the beauty in music rather than imposing his own interpretation. He outlines his vision for the DePaul School of Music, including its role as a top orchestral training institution. He emphasizes the importance of diversifying the curriculum to include recording arts and performing arts management. John discusses the need for conservatories to focus on specialized training while maintaining a broad educational approach, and he highlights the potential for DePaul to become a leader in complex and diversified higher education in the arts. Timestamps: 05:14: Early Musical Training and Harvard Experience 10:27: Career in Music and Academia 16:02: Transition to DePaul University  21:55: Impact of Kennedy School Education  28:01: Personal and Professional Highlights 34:04: Vision for DePaul School of Music  Links: Faculty: https://www.depaul.edu/faculty/john-milbauer Spotify: https://open.spotify.com/track/43vQxUUaMmzDFTKBND7u2B?si=34e1d0776d604cfb DePaul University:  https://magazine.depaul.edu/s/1906/23/interior.aspx?sid=1906&gid=2&pgid=4425   This episode on The 92 Report:  https://92report.com/podcast/164-john-milbauer-pianist-and-conservatory-leader/ *AI generated show notes and transcript  

(Kevin)Playlist: Godspeed You! Black Emperor - The Dead Flag Blues (Intro)Tinariwen - Aba MalikJohn Swanke - Dance of the Green Crab IIRadwan Ghazi Moumneh & Frédéric D. Oberland - A Silence With No Ceiling لا للصمت سقفBitter Fictions - SapphireCharlotte Cornfield - BeforeS.G. Goodman - I Can See the DevilMaria BC - JuneBill MacKay & Ryley Walker - Silver CupJake Xerxes Fussell & James Elkington - County ZJoseph Decosimo - BoatsmanAmeel Brecht - Blue SeasonIlyas Ahmed - Some Of NoneMore Eaze - BitersShane Parish - slipLoula Yorke, featuring Charlotte Jolly - With the Red DawnAll Hands Make Light - The Sons And Daughters Of Poor Eternalanthéne & far away nebraska - Meet Me in SaskatchewanHollie Kenniff - At Every Moment and in Every Place

Playlist: Ludovico Einaudi - Pathos - Reworked by Leo EinaudiWilliam Basinski - . . . on reflection (four)Rod Thomas Squance, University of Calgary Wind Ensemble - III. DancaMikael Lind - SteinsnarH.Takahashi - PollenNailah Hunter - The Pavilion of DreamsLavinia Meijer - Scarlatti: Sonata in F MinorSeki Takashi - Fishers of MenJim Perkins - As Light MovesHania Rani - TimeA Winged Victory for the Sullen - Our Lord DebussyHenrik Meierkord - Seele HeimatHanna Lindgren - How Did We Get HerePoemme - Southbound FormationsAAESPO - It's in there SomewhereAltus - Nearly Forgotten

Show Notes Note: for copyright reasons this episode does not include any audio of 4'33", composed by John Cage - you will need to find your own version to listen alongside this track. Start both at the same time in order to make sure our commentary is appropriately synced to the song. Mobile Suit Breakdown is written, recorded, and produced within Lenapehoking, the ancestral and unceded homeland of the Lenape, or Delaware, people. Before European settlers forced them to move west, the Lenape lived in New York City, New Jersey, and portions of New York State, Pennsylvania, Delaware, and Connecticut. Lenapehoking is still the homeland of the Lenape diaspora, which includes communities living in Oklahoma, Wisconsin, and Ontario. You can learn more about Lenapehoking, the Lenape people, and ongoing efforts to honor the relationship between the land and indigenous peoples by visiting the websites of the Delaware Tribe and the Manhattan-based Lenape Center. Listeners in the Americas and Oceania can learn more about the indigenous people of your area at https://native-land.ca/. We would like to thank The Lenape Center for guiding us in creating this living land acknowledgment. You can subscribe to Mobile Suit Breakdown for free! on fine Podcast services everywhere and on YouTube, visit our website GundamPodcast.com, follow us on Twitter, Instagram, and Facebook, or email your questions, comments, and complaints to gundampodcast@gmail.com. Mobile Suit Breakdown wouldn't exist without the support of our fans and Patrons! You can join our Patreon to support the podcast and enjoy bonus episodes, extra out-takes, behind-the-scenes photos and video, MSB gear, and much more! The intro music is WASP by Misha Dioxin, the recap music Window by 1000 Handz, and the outro is Long Way Home by Spinning Ratio, all licensed under Creative Commons CC BY 4.0 licenses. All music used in the podcast has been edited to fit the text. Mobile Suit Breakdown provides critical commentary and is protected by the Fair Use clause of the United States Copyright law. Gundam content is copyright and/or trademark of Sunrise Inc., Bandai, Sotsu Agency, or its original creator. Mobile Suit Breakdown is in no way affiliated with or endorsed by Sunrise, Bandai, Sotsu, or any of their subsidiaries, employees, or associates and makes no claim to own Gundam or any of the copyrights or trademarks related to it. Copyrighted content used in Mobile Suit Breakdown is used in accordance with the Fair Use clause of the United States Copyright law. Any queries should be directed to gundampodcast@gmail.comRead transcript

(Kevin)Playlist: Rev. LV - Light 1 (Guided Narration)Colleen - Mis armas se habían caído al sueloEmil Mark - BlomsterCaterina Barbieri & Bendik Giske - Alignment, OrbitsBen Glas - Untitled IVMarielle V Jakobsons - Before the Air RemembersToninato & Thiessen, featuring Jason Sharp - I need warmthWhitney Johnson, Lia Kohl, Macie Stewart - dawn | pulsePan•American - Silver Plane, Now BoardingWill Gardner - The Hadal ZoneGregory Nunn - String to the bowJoe Harvey-Whyte & Paul Cousins - waveMaria BC - SabotageBitter Fictions - Amethyst & EmeraldPullman - BrayKMRU, featuring Fennesz - BlurredBarry Hudson-Taylor - FlutterDavid Moore / Bing & Ruth - OfferingBlurstem - Leftover NotesMasahiro Takahashi - Useless Tree

Marta, the number one Parra for Cuva enjoyer, crashes out about not being able to see him at Commonwealth on March 28th.Playlist: Parra For Cuva - Towards AmberParra For Cuva - Selva SelvaParra For Cuva - Sacred FeathersParra For Cuva - Mood in CAukai, Parra for Cuva - CloudlineJesse Kendal - FeltANNA, East Forest - Let you InShingo Nakamura, Qrion - Blue PlanetJohn Hayes - Beautifully Lost MindNiklas Paschburg - OceanicMax Richter, Elena Urioste, Chineke! Orchestra - Spring 1 - Levitation MixLara Somogyi - basisHinako Omori - A JourneyOkkyung Lee - let's walk down to the swamp togetherAliya Lark - White PoppyPhilip Glass Ensemble - Knee 5Peter Gregson, Warren Zielinski, Magdalena Filipczak, Laurie Anderson, Ashok Klouda - WarmthMary Lattimore - Mary, You Were WrongGrace Scheele - JellygooVOCES8, Karl Jenkins, The Chamber Orchestra of London - BenedictusFoam and Sand, Tom Ashbrook - Circle 26Slow Meadow - A Light Without FlameLibrary Tapes, Julia Kent - Through GlassSun Rain, Alaskan Tapes - SunJohn Metcalfe - SunriseEluvium - A.M.Hanna Lindgren - Go Lightly Above the Surface

Playlist: Christian Löffler - HomeInstupendo - BoyNick Wales - Harbour LightDanish National Symphony Orchestra, Eimear Noone - Suite from World of WarcraftDanish National Symphony Orchestra, Eimear Noone - Main Theme from Shadow of the ColossusDanish National Symphony Orchestra, Eimear Noone - Ezio's Family from Assassins CreedDanish National Symphony Orchestra, Eimear Noone - One Winged Angel from Final Fantasy VIIAnne Chmelewsky - Jessica's EscapeEvelyn Glennie - Space ChoraleKaitlyn Raitz - Element (After)Echo Collective - WonderEydis Evensen, Esther Abrami - FlowLavinia Meijer - Open Window: Part IIIFlorelda Saachi - Nausicaa of the Valley of the WindFlorelda Saachi - The Wind ForestStray Ghost - The Puzzle of Your Heart and Uoir MindTheo Alexander - Hammer Frenzy24th and Haven - End LightHannah Peel - Part CloudBiggi Hilmars - Frozen LandscapesRichard Harvey, Estonian Philharmonic Chamber Choir - Night SongA Winged Victory For The Sullen - Atomos VIIkita kouhei - Plants Feast

A white canvas. One black line. Nothing else.This is Bernhard's favorite painting—by German artist Lilo Rinkens—a meditation on the empty space.THE QUESTION:AI and digital tools encroach on every moment. Phones are with us constantly.What do we need to counter that? The empty space.THE LILO RINKENS PAINTING:German painter. Large white canvas. One black line.Bernhard discovered her at Booz Allen (now Strategy&) in Munich. Her earlier work: letters and handwriting you couldn't read."The Kelly Briefe" (book with poet Wolf Wondratschek): He typed letters, she answered in beautiful handwritten letters—unreadable but full of energy.Studio visit: Six paintings, one black line each."One line spoke to me immediately. It gave me positive energy.""A play on the empty space. Just this one line. It takes time that it grows on you."PETER BROOK - THE EMPTY SPACE:British theatre director: "Any empty space with a person walking across is actually a stage."Away from detailed sets → Big, empty stages."The actor or singer had to be even more present than ever before."JOHN CAGE - 4'33":American composer. Famous piece: 4 minutes and 33 seconds of silence."Peace and quiet of nothing at all."Performers can move, but no note whatsoever.First performance: Audience outrage."An experiment on the empty space."TRUE EMPTY SPACE:"When you think back to your normal week, when you actually have a really empty space—where you don't look at anything, you don't listen to anything, you just focus on yourself."Meditation apps?"I'm skeptical because they make you believe you're in an empty space, but you're not—you have them in your ears."True empty space:"Just us, nothing else. We don't see, hear, taste, smell, or touch anything."All five senses: Nothing. Just you.ANECHOIC CHAMBERS:US experiments in rooms with no echo."You felt deaf because even if a person was speaking to you, you couldn't hear them."How long could people stay: "Just a couple of minutes until everyone wants to get out."Why? "It's uncomfortable. We are so used to hear things unconsciously. But the empty space is different. It is silence. It's just being."BERNHARD'S PRACTICE:"Finding that empty space in myself and staying there for a couple of minutes is quite a challenge, to be honest.""It's so much easier to look at my phone or go to my computer than just be with myself in that empty space."Why it matters:"With all the digital input we get, and that will be increasing, the empty space becomes more important."WHY IT'S UNCOMFORTABLE:"Things come up which we have buried really far down. Pictures that are not pleasant. But it is important to give these feelings, emotions, experiences the space they need so we can resolve them over time."THE INVITATION:"For this week I invite you to experiment with the empty space."How:Go somewhere undisturbedSit or stand for a couple of minutesClose your eyesFocus on pictures from insideFocus on sounds from insideJust let it beThe promise:"Things will come up you never imagined and you'll come out different.""This is one of the most fantastic human experiences we can have."THIS WEEK:Find 5 minutes of true empty space.No phone. No apps. No input. Just you.Share your experience: www.bernhardkerres.comLINKS:RolePlays.AI: www.roleplays.aiBernhard: www.bernhardkerres.com#EmptySpace #Meditation #Silence #JohnCage #PeterBrook

On this episode of The Bandwich Tapes, I sit down with pianist, composer, improviser, label founder, and educator Kris Davis—one of the most forward-thinking voices in creative music today. Our conversation left me feeling genuinely energized. Kris approaches music with a rare combination of curiosity, discipline, and fearless experimentation, and it was a joy to dig into how all of that shows up in her work.We start with what's immediately ahead for her: a trip to Hamburg to premiere a newly expanded big band version of a trio piece with the NDR Big Band. Kris shares the very real “composer panic” that comes with catching an engraving mistake right before rehearsal—one of those behind-the-scenes realities of composing that every musician can relate to.From there, we talk about festivals—especially Big Ears, which feels like its own musical universe—and dive into two major pillars of her work: prepared piano and large-form composition. Kris reflects on studying with pianist Benoît Delbecq, whose approach to prepared piano emphasized rhythm, individuality, and finding a personal sonic vocabulary.One of the highlights of our conversation is a deep look at her remarkable Solastalgia Suite, written for the Lutosławski Quartet after a commission through Poland's Jazz to Pad Festival. Kris talks about learning how to write for strings in real time and how the concept of **solastalgia—the grief you feel for your home while you're still living in it—**became the emotional core of the piece.We also zoom out into the bigger picture of her work: her leadership role alongside Terri Lyne Carrington at Berklee's Institute of Jazz and Gender Justice, and her decade-long journey building Pyroclastic Records, a label dedicated to supporting adventurous music and the artists creating it. At its heart, this conversation is about craft, community, curiosity, and the importance of taking creative risks on purpose.Key TakeawaysThe behind-the-scenes realities of composing for large ensembles—including last-minute engraving panic before a premiere.Why festivals like Big Ears create a unique ecosystem for creative music.How studying with Benoît Delbecq shaped Kris Davis's approach to prepared piano.The creative challenge of writing for string quartet for the first time.The emotional meaning of solastalgia and how it shaped the Solastalgia Suite.Kris's work at Berklee's Institute of Jazz and Gender Justice alongside Terri Lyne Carrington.How Pyroclastic Records has grown into an important platform for adventurous and forward-thinking music.Music from the EpisodeDiatom Ribbons — Kris DavisInterlude (from the Solastalgia Suite) — Kris DavisLife on Venus (from the Solastalgia Suite) — Kris DavisRun the Gauntlet — Kris DavisAbout the PodcastThe Bandwich Tapes is a long-form conversation podcast where host Brad Williams sits down with some of the most thoughtful musicians, composers, and artists working today. The show explores the stories behind the music—creative process, collaboration, career paths, and the human experiences that shape the sounds we love.Connect with the ShowEmail: contact@thebandwichtapes.com

Over six decades and counting, the postmodern choreographer and dancer Lucinda Childs has built an exceptional, category-defining body of work grounded in a style that draws as much from “pedestrian,” everyday movements as it does from her foundational ballet training. Emerging out of the 1960s Judson Dance Theater in New York City, Childs founded her namesake company in 1973 and has created more than 50 works since. This year will see two major New York presentations of her pieces—the first, from March 14–15 at the Guggenheim, will restage five of her early dances, most of them silent; the second, titled “Momentary Reprise,” will be showcased at Bard College's Fisher Center from June 26–28 and include her collaborations with the likes of Frank Gehry, Philip Glass, and Robert Wilson. On this episode—our Season 13 opener—Childs reflects on her various experimental collaborations with Glass and Wilson; her profound perspectives on time through the lens of choreography and performance; and how she has remained unapologetically steadfast in refining her highly distinctive approach to dance. Special thanks to our Season 13 presenting partner, L'ÉCOLE, School of Jewelry Arts. Show notes: Lucinda Childs [06:23] Philip Glass [12:46] Merce Cunningham Dance Company [10:02] John Cage [12:17] “Pastime” (1963) [12:36] Judson Dance Theater [13:19] Yvonne Rainer [14:04] Robert Ellis Dunn [15:34] “Calico Mingling” (1973) [15:38] “Untitled Trio” (1973) [17:01] Babette Mangolte [17:29] “Reclining Rondo” (1975) [17:29] Robert Morris [29:44] Hanya Holm [22:59] “Radial Courses” (1976) [22:08] “Katema” (1978) [32:30] “Shoulder” (1964) [37:44] Robert Wilson [37:44] Einstein on the Beach (1976) [33:59] Susan Sontag [33:59] Against Interpretation (1966) [34:28] Marguerite Duras [36:34] “Description (of a Description)” (2000) [46:07] “Dance” (1979) [48:36] “Available Light” (1983)

(Kevin) Celebrating International Women's DayPlaylist: Caterina Barbieri / Bendik Giske - Intuition, NimbusElori Saxl & Henry Solomon - ReverenceNala Sinephro - Mark IIAsher Levitas and Margaret Fiedler McGinnis - RW4Hania Rani - The HouseMaya Shenfeld - There's Always Another LevelMidori Hirano - Ame, HikariEva Lunny - 333Natasha Pirard - Proche de toiPatricia Wolf - I'll Take Care of YouJessica Moss - No OneOla Budzyńska - 6:23Isabel Pine - WanderingMichele Andreotti - La Nuova ParolaIda Urd & Ingri Høyland - SonoIKSRE - karlu karlu (perpetual motion)Claire M Singer - Rionnag a TuathDania, featuring Harp - Claire Deak, Cello - Judith Hamann, Words - Eloise Bennett - Weave & BuryMALIBU, featuring Additional sound-effect : Stella Lagnefors-Cartriers - Lactonic CrushChantal Michelle - Presence of Bordermarine eyes - linen Sheetsh. pruz, featuring Piano: James Chrisman, Electric guitar: Rick Spataro, Buchla: Emily Sprague, Moog: Felix Walworth - ForceGrouper - Kelso (Blue sky)Gwenifer Raymond - Dreams of Rhiannon's BirdsJoan Shelley, featuring James Elkington - percussion, keys, bass, vocal harmony; Nathan Salsburg - acoustic guitar, electric guitar; Julia Purcell - harmonium; Lou Krippenstapel - violin; Jim Marlowe - Moog - Mood RingGanavya - LandThanya Iyer - Where does that energy go?Laurie Torres - LisièreCelia Hollander & Evan Shornstein - Dense DuskKelly Moran - Above the vapoursHarbors (Hollie Kenniff & Goldmund) - In All ThingsHermitess - Green Blade

Fully & Completely: redux – Music @ Work Guest: Rob Johannes

Playlist: Christian Löffler - 7 TepeSimon Leoza - millionaireHaruka Nakamura - The Eternal ViewThe TANK Centre for Sonic Arts - Slow Beethoven Radio Mix 1 - Radio EditEllen Reid - Big MajesticRebekah Reid - Now You See..Glåsbird - Uneventful ReveriesMaya Shenfeld - AnalemmaPoor Clare Sisters Arundel - Per Quelli - Focus MixVOCES8, Daniela Mars - KaritasPolish Chamber Choir - O Virgo MariaThe Benedictine Monks - KyrieStretensky Monastery Choir - The Rivers of BabylonHuelgas Ensemble - Deo GratiasSerafina Steer, Leo Abrahams - EquinoxEcho Collective - Les NympheasBelle Chen - Three Birds - Bon Meditative ReworkKainbeats - always driftingNala Sinephro - Continuum 3Zakè - Lament for StringsSachi Kobayashi - PeaceWhatever the Weather - 25 CHenrik Lindstrand - Havet (Reimagined by Christina Vantzou)Chad Lawson - Of Wonder - Helios Rework

(Kevin) - Some spacey blues, musical meanderings, and degraded hymns...Playlist: Andy Aquarius, Kimi Recor - Back To The FireRev. LV - Light 2 (Guided Narration)KMRU - With Trees Where We Can SeeThose Who Walk Away - Third Degraded Hymn [Ian William Craig Rework]Asher Levitas and Margaret Fiedler McGinnis - RW6Pullman - OctoberRat Heart, featuring Cansu Kandemir - SENLApparat - WilliamsburgChantal Michelle - Breath Observation (for clarinet)C Joynes & Mike Gangloff - An OpeningWinged Wheel - Canvas 11Barry Walker Jr. - Peridot, Call MeBill MacKay & Ryley Walker - Promise MeD. West - The Transpacific International CausewayShane Parish - ClipperUltrafog - ThrownIsabel Pine - Never Been Here BeforeSam Wenc - Threshold ArisesHasfeldt, featuring Croatian Amor - Play Me Like One Of The OthersMidori Hirano - Illuminanceaus + the humble bee - i follow a barren path across the old mountainAlabaster DePlume - Why Buzzardman WhyBill Callahan - The World is Still

Silenced Soil begins with a fragile artefact: a recording of Claude Debussy's Sarabande, composed in 1894 and revised in 1901, then recorded on 11 April 1963 in Gillitts, KwaZulu-Natal, by ethnomusicologist Raymond Clausen. Its only documentation is a handwritten note on a reel-to-reel tape box: “at Gillitt's, copy of Debussy, Sarabande.” No pianist, no studio, no context. The archive offers little clarity. Sometimes it keeps its silence.Listening to this recording in 2025, I was confronted not only by sound, but by history. Why was Western art music recorded here, under whose authority, and for what purpose, during a period still shaped by colonial power? Before reshaping the music, I had to confront my own position as a descendant of European colonisers. This inherited legacy uncomfortable but necessary became central to the work, sharpening my awareness of cultural imposition, culture colonialism and ongoing calls for restitution.From this reckoning, Silenced Soil emerged. I treated Debussy's melody as a fractured map: splintered, dispersed, and reassembled through chance. This approach draws on John Cage's embrace of indeterminacy and my long-standing admiration for atonality in music. The soundscape is composed at 120 BPM (2 Hz), chosen to evoke both calm and alertness. A reflection of historical time moving slowly, yet demanding urgent re-examination. Within this framework, I wove voices and instruments from Zulu culture, women's singing sound fragments, mouth harps, clapping sticks, and rattles — alongside electronics, loops, found sounds, urban noise, and synthesised textures and the original recording of Sarabande. I actively intervened in this source material, editing the refrain of Sarabande into fragmentary notes and embedding them within the soundscape composition. These elements meet not as opposites but as interlocutors, forming a threshold where suppressed traditions and contemporary sound worlds converge.Unanswered questions remain: Who was the pianist? Who authorised the recording? What ethical framework governed it? These absences are integral to Silenced Soil. What is unheard can be as powerful as what is recorded. And the soil? It stands for the restless cosmos, for the sand forever in motion across our planet. What drifts, what scatters, what is buried will, in time, be made visible. My compositional process is guided by intuition and curiosity; notation and atonality serve as a compass rather than a rule, supported here by research into the subject itself. My aural journey began at six at the piano, expanded through Germany's 1990s DJ culture, deepened during my years as a contracted composer with BMG, and refined through studies in Sound & Visual Art at Middlesex University's Lansdowne Centre for Electronic Arts. Together, these experiences shape a practice that moves fluidly between structure and instinct, inquiry and an enduring love for soundscape creation.Piano being played reimagined by Linda Himbert.———Part of the project A Century of Sounds, reimagining 100 sounds covering 100 years from the collections of the Pitt Rivers Museum at the University of Oxford. Explore the full project at citiesandmemory.com/century-sounds

durée : 01:00:23 - Laurent Mauvignier, écrivain - par : Priscille Lafitte - "La Maison vide" de Laurent Mauvignier est peuplée d'un piano et de souvenirs musicaux liés au fantôme d'une arrière-grand-mère pianiste, Marie-Ernestine. Ce roman, qui a valu à l'auteur le prix Goncourt, est-il né en musique ? Portrait de Laurent Mauvignier entre Franz Schubert et John Cage. - réalisé par : Philippe Petit Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Why do the most profound learning experiences often feel like getting lost in a good game?In this episode, Brian sits down with Christopher Icks, a philosopher, applied linguist, and experiential learning designer, to explore why "play" isn't just for kids—it's a vital engine for deep, transformative learning. From his work at the University of Oregon's CASTLES to his stewardship of Eugene's eclectic Resonance Building, Christopher reveals how we can design spaces and experiences that foster genuine connection, wayfinding, and what he calls "vital surplus."They dive into the tension between rigid institutional metrics and the messy, beautiful reality of how we actually learn. Get ready to question the classroom circle, embrace a little vertigo, and discover why a "Bring Your Own Puppet Party" might just be the future of professional development.

DISCLAIMER:The musical composition is called 4'33”, by John Cage. (Forgot to say the name). It can be found here: https://youtu.be/TrlKxV5KWJo?list=RDTrlKxV5KWJo Welcome to the fifth Creative Contraband episode! After some minor technical inconveniences, we explore the delicate art of empty spaces guided by the usual host Danny Barrett.Drawing from neuroscience, music, and other arts, you'll learn about building suspense, tension release, cognitive processing limits, and more. Thanks for listening to today's show. If you like our stuff and want to support us, here are some sponsor links and links to our other stuff:Worldsmith: http://session0studios.com/worldsmithRoll and Play Press: http://session0studios.com/rollandplayPhantasm Studios: https://session0studios.com/fantasmsMonument Studios: session0studios.com/monumentstudiosDiscord: http://session0studios.com/discordPatreon: https://session0studios.com/patreonDungeon Master Level Up Guide: https://session0studios.com/newsletter

Playlist: Cabin Fever Orchestra - Canopy of StarsPeter Gregson - Primary ColoursPeter Gregson - Birds of a FeatherCatrin Finch - GobaithZubin Kanga - Single Form - Nailah Hunter's ReflectionMax Richter, Claudio Ferraini - Max Richter: LuminousFlore Laurentienne - Fleuve VIIAlex Somers - Death NoticesTewksbury - Banda Mountain - IKSRE RemixLe Motel - I Cried Like a Child of ThreeOlma - Stories on the FloeBelle Chen - Kingdom Animalia - Brendan Cox MeditationErland Cooper - Salve ReginaErland Cooper - ManificatHiroshi Yoshimura - AdelaideChihei Hatakeyama - Wind from the MountainsAlaskan Tapes - CanopyMore Eaze, claire rousay - hopfieldsAngel Salazar - FireAdam Wiltzie - How to Disappear Inside a Thiry Piece OrchestraPatrik Berg Almkvisth - Like SilverMavrik - xLutes Jennings - Lights (slows)Kilometre Club, The Golden Age of Wrestling - Knowingly

durée : 00:08:14 - Lou Harrison : Labrynth - Maelström Percussion Ensemble, Jan Williams - Actif depuis 1982, le Maelström Percussion Ensemble a enregistré en 2000 le répertoire de Lou Harrison, parmi lesquel "Labrynth n°3,"une œuvre composée en 1941 inspirée par le gamelan, sorte d'orchestre de percussions traditionnelles de Java, qui fit forte impression à John Cage. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

 Breath and Clay as a “house of refuge” from cultural noiseCommunity as collaboration, not organizationWhy the event works: clarity plus mysteryMakers show up with projects, not just opinionsReal-world outcomes: collaborations that keep growing after the weekendLetting fruit scatter without controlling the pipelineThe 2026 theme: Making Space https://www.thebreathandtheclay.comThe icon: the chairStephen's new book: How to See Invisible ThingsInner life and outer life of the artist“Border-walker” artists and the liminal, unresolved middleArt as a way of seeing, not a utilitarian productScarcity vs abundance as a spiritual and creative postureMary “treasuring” as a model for creation and formationBook excerpt: John Cage 4'33, Quaker silence, sacramental visionCall to action: make the investment, ditch something else, come to Winston-Salemhttps://www.thebreathandtheclay.com Links For Justin:Read Justin's SubstackOrder In The Low - NEW Book with Scott EricksonCoaching with JustinOrder In Rest - New Book of PoemsOrder Sacred StridesJustinMcRoberts.comSupport this podcastNEW Single - Let GoNEW Music - Sliver of HopeNEW Music - The Dood and The BirdThe Book - It Is What You Make itHearts and Minds Amazon Barnes and Noble

(Kevin)Playlist: Hermitess - In That CountryWayne Patrick Garrett - Marine LifeJoe Harvey-Whyte & Geir Sundstøl - Lea DubT. Gowdy, featuring spoken word by Laura Buckley - Richmond RdMitchell Akiyama - Through Fall And FlickerNatasha Pirard - La fin le débutLoscil - DouxJessica Moss - Washing MachineEfrim Manuel Menuck - The Beauty Of The Sun As It Leavesclaire rousay, featuring M. Sage - JustRafael Anton Irisarri, featuring Karen Vogt - Signals from a Distant AfterglowPedro Monkeyfinger - five waysScott McCloud - Down Through The StarsJohn Swanke - TarragonRunnner - Untitled October SongUltan O'Brien, featuring Nic Gareiss - percussive dance - MachaThe Soft Pink Truth, featuring Bill Orcutt - OrchardWil Bolton & David Cordero - RefractedAlabaster DePlume - Kuzushianthéne - Wishing WellSarah Pagé - Spring Is HereKara-Lis Coverdale - OririSarah Houston - Dancing ShadowsHania Rani - RiksarkivetJohanna Summer - TeardropMichael Scott Dawson - Little NapJolie Laide - Saw the Wave

Playlist: Christian Löffler - Until We Meet AgainBear McCreary - Durin's BaneNorthwestern University Symphonic Wind Ensemble - O Magnum MysteriumJohann Johannsson, Air Lyndhurst String Orchestra - A Pile of DustAlexandra Hamilton-Ayers, Her Ensemble - Sept DouleursAtli Orvarsson, Kjartan Holm, Sin Fang - Dad Traffic ControlVicente Alamo - ElevenSlow Meadow - PalemoteNatalia Tsupryk - Trees Were Burnt to the GroundBPMoore, Glowworm - The World Is as You Are - Glowworm ReworkLeah Kardos - A Memory HoleBenjamin Gustafsson - Close to HerShelley Burgon - The In BetweenEric Kinny - Daydream in D for CelloSoloi Sounds - TwelveMarielle V Jakobsons - Everything Lost RemainsAlex Baranowski - ConstellationsBrambles, Nest - In the Androgynous Dark - Nest VersionFrancesca Guccione - Movement IVJim Perkins, Jules Dickens - Eb 144 11:50 PMKaitlyn Aurelia Smith - Dying is a Normal Part of LifeLudvig Cimbrelius - my star waits for you to come homeLowercase Noises - The Windows of You (I sang a quiet song_Applefish - Moonrise

durée : 00:05:56 - Georges Aperghis : Récitations - Martine Viard - En 1983, la chanteuse Martine Viard, dédicataire d'œuvres d'Aperghis, John Cage ou encore Karlheinz Stockhausen, enregistre les Récitations pour voix seule de Georges Aperghis pour le label Harmonia Mundi. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Join Jesse and Michelle for an incredible conversation as they sit down with Cephas Azariah and Joshua Luke Smith to explore the intersection of faith and creativity—why we create, how God is involved in our creative process, and what it means to live as a Christian creative in today's world. This episode has been repurposed from a seminar at Wildfires Festival last summer. It is packed with honest insights, practical wisdom, and a powerful challenge to step into the creative calling God has placed on your life. This episode tackles the fear of adding to the noise, the pressure of perfection, why you don't have to be joyful to create, and the power of silence before God. Experience a guided moment of stillness inspired by John Cage's 4'33"—a practice of listening to the sound of your heart, your thoughts, and the Holy Spirit. Whether you're a musician, actor, photographer, dancer, or someone who just loves to make things, this conversation will challenge you to see creativity not as a side hustle but as your birthright, and to create with honesty, freedom, and the presence of God. FOLLOW US ON INSTAGRAM: https://www.instagram.com/thewayuk/ FOLLOW US ON TIK TOK: https://www.tiktok.com/@thewayuk/ Want to know more? Find a church that has things happening for young people. Visit https://achurchnearyou.com/youth/ [In partnership with CofE Digital Projects]

(Kevin) - forever forward in search of the beautifulPlaylist: Pullman - WeightlessTomo Katsurada, featuring Jonny Nash - Dream of the eggLaurel Premo - The Minstrel Boy Has Gone To WarJohn Swanke - Lake Samish SongK. Leimer - Deepening SeaGillian Welch - I Dream A HighwayToby Hay - O'Carolan's Dream (trad)Masayoshi Fujita - Perfect Family – Sadness RougeLeilehua Lanzilotti, featuring Roomful of Teeth - on stochastic wave behavior: iv. nalukaiMadeleine Cocolas - Where We GoHeinali - Music to Sleep Under SnowJohn Thayer - Submarine CanyonIda Urd & Ingri Høyland - NestØystein Skar - LevvaErik Hall - A Folk Study (Laurie Spiegel)Kazuma Okabayashi - Unheld MaterialTokyo Ambient Collective - a dark long winterKronos Quartet - Folk fær andlit (Hildur Guðnadóttir)Yann Tiersen - TórshavnJakob Bro & Midori Takada - Sparklesleon todd johnson - kei (instrumental)

Plus the RESET Festival at Neimënster Luxembourg vibraphonist and composer Pascal Schumacher has spent a career sculpting sound, as a composer and performer. A deep admirer of Philip Glass, Pascal has become more interested in the concept of time and how our perception of time can be shifted with music. A metronome is a minimal music instrument We open the show with Schumacher's shimmering “Re: Amarcord”, which is a reworked piece from his Sol album. This album was created from a residency at Op der Schmelz in Dudelange. We then discuss the metronome experiment: when people listen to a perfectly repeating click their perception of time slows or even seems to stop. Schumacher explains that our first reaction to repetition is that it can be boring. However, minimalist composers play with this concept. “If you're bored after four repeats, listen to eight; if you're bored after eight, stay for sixteen. At some point, it becomes something else.” A study of Philip Glass Schumacher's admiration for Philip Glass starts with structure as sound. Philip Glass stars with the form, the shape, the arc; before disappearing into detail. Pascal tries to pass on this lesson to students: musicians can become obsessed with tiny technical questions before they've even agreed what the piece is. Glass's comfort with exceptionally long forms, he notes, was shaped by theatre thinking: the patient building of scenes for example, and that patience shows up in works like Einstein on the Beach, designed from the start as a multi-hour world the audience can enter and exit. Clock time versus Musical Time One of Schumacher's most striking ideas is that clock time only moves forward, but musical time has more freedom. He describes music as a place like a city you visit. If you love it, you go back. That's why a song can instantly return you to an old memory: a first kiss, a summer drive, a chapter of life you thought was gone. Music is emotional time travel. Silence We also talk about the concert moments audiences feel in their bones: the stillness before the first note, and the suspended beat after the last note when nobody dares clap first. Schumacher calls this a breath and reminds us that what we call silence is never empty; it's a change in listening. The room is part of the piece, the lighting, the people around you at that moment in time, the season you play in. Notably American composer John Cage played with this concept with his 4'33 piece where every orchestral instrument has 4'33 bars of rest RESET Festival 2026: a ‘musical jazz hackathon' at Neimënster Abbey Schumacher is also the musical curator behind RESET, now in its 9th edition, and it's built around one core idea: residency changes everything. 8 musicians from 8 different countries and different ages come together to build music. RESET runs 25–31 January 2026, with eight artists in a creative residency at Neimënster. The three-night public programme Day 1 (Thu): #jazzcrawl — three short sets across the city: Neimënster (Salle Nic Klecker) → Cercle Cité → Bazaar. Day 2 (Fri): #solos — each musician takes an eight-minute solo: eight distinct “time worlds” in one evening. Day 3 (Sat): #concert — the full group comes together, with each artist contributing to the final shape of the night. RESET is the live jazz laboratory of music where Luxembourg can experience it. Pascal and the team are offering three sets of two tickets for the final performance on Saturday night at Neimënster Abbey. https://www.neimenster.lu/collection/reset/ MUSIC / TRACK REFERENCES “Amarcord (Fejká's Daydream Version)” (SoundCloud stream): https://m.soundcloud.com/fejka/pascal-schuhmacher-amarcord-fejkas-daydream-version “Glass Two” (YouTube album playlist – includes “Mishima Closing”): https://www.youtube.com/playlist?list=OLAK5uy_kWNfNju6rtKIVotOfOXWJC7s-HR-R4Oys “Mishima Closing” on Spotify (Pascal Schumacher & Danae Dörken / Philip Glass): https://open.spotify.com/track/5Bq9jwy1UdmIpYOmFFr8hi

Playlist: Kanako Yamamoto - Reason - Bonobo Rework InstrumentalWillaris.K - Past LightLambert - PorcelainRaphaelle Thibaut - 5.00amStrings from Paris, KurtTheViolinist - White FerrariPetr Aleksander, Ian Burdge, Bruce White - New MoonPeter Gregson - Discovering ShadowsIMGL - The WaveClarice Jensen - 2,1Jonas Gewald - when I fademinor image - Shi2 A.M Talk - When Time Stood StillHenrik Meirkord, Logic Moon - SkogsfolkSven Laux, Julia Gjertsen - Before Clocks Start TickingJulianna Barwick & Mary Lattimore - The Four Sleeping PrincessesAnn Annie - SamaraNatalia Tsupryk - Late June NightKeo - Memories in the Rice FieldNadia Summer - If Only (Yonatan Ayal remix)Helene Vogelsinger, Francesca Guccione - Rebirth (Remix)Dimming - so far from reachanthene, Simon McCorry - the groveGeorge Ian Hewitt - Morning DewOlma - Tendencies for LongingMikael Lind - Winter Ambient #1Madeleine Cocolas - A PromiseLiom - Warm TonesDermott Reilly - We Could Be Here

durée : 00:25:07 - Gavin Bryars, compositeur et contrebassiste (3/5) - par : Thomas Vergracht - À 82 ans, Gavin Bryars continue de réinventer la musique. Invité du festival Musica à Strasbourg, le compositeur revient, en cinq épisodes, sur un parcours éclectique croisant jazz, minimalisme et expérimentations avant-gardistes. - réalisé par : Béatrice Trichet Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

You provided the Qs - here are the As! In the twinkle of the tree at Tonkinson Towers, Rob and Paul dig deep into your brilliant questions.Part Two features talk of London, Manchester and Taskmaster, runs when it all came together, and the long-hoped-for, John Cage-style silent episode. SUBSCRIBE at ⁠https://runcompod.supercast.com/⁠ for early access, bonus episodes, ad-free listening and more... BUY OUR BOOKS; you can get Rob's book Running Tracks here - ⁠https://www.waterstones.com/book/running-tracks/rob-deering/9781800180444⁠ - and you can get Paul's book 26.2 Miles to Happiness here: ⁠https://www.waterstones.com/book/26-2-miles-to-happiness/paul-tonkinson/9781472975270⁠ Thanks for listening, supporting, and sharing your adventures with us. Happy running. Learn more about your ad choices. Visit podcastchoices.com/adchoices

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1====================================================DEVOCIÓN   MATUTINA PARA ADULTOS 2025“CON JESÚS HOY”Narrado por: Exyomara AvilaDesde: Bogotá, ColombiaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================20 de DiciembreCaro Silencio«Y será predicado este evangelio del reino en todo el mundo, para testimonio a todas las naciones, entonces vendrá el fin» (Mat. 24: 14).Y si estos callan, las piedras gritarán» (Luc. 19: 40, RVA-2015).En 1952 el compositor John Cage escribió una obra musical a la que dio por título 4'33". Este título insólito corresponde, simplemente, a la duración de la pieza, es decir, 4 minutos y 33 segundos. Lo especial de esta composición es que sus tres movimientos no contienen ninguna nota, aparte de la anotación «Tácet»: silencio.El estreno de 4'33" tuvo lugar el 29 de agosto del año 1952 en Wood stock (Nueva York), y constituyó un sonado escándalo. En efecto: el joven pianista David Tudor entró en escena, saludó al público, se instaló ante el piano de cola, lo abrió, esperó los 4 minutos y 33 segundos y lo volvió a cerrar, marcando así el fin de la actuación. Entretanto, nada. Silencio. Un silencio solo interrumpido por las toses nerviosas de los espectadores... hasta que se dieron cuenta de que no había nada más que esperar y abandonaron la sala protestando, frustrados y enfurecidos.Lo más chocante es que, gracias a esa «creación», John Cage se hizo mundialmente famoso, fue solicitado para interpretarla en numerosas ocasiones y hasta para grabarla en discos y CD ¡con diferentes instrumentos!!¿Locura? ¿Extravagancia? ¿Genialidad? ¿Burla? Ha habido reacciones para todos los gustos. No es mi intención aquí ni juzgar al artista ni a sus fans, ni discutir sobre las numerosas virtudes del silencio. Mis reflexiones van en otra dirección: hay silencios que pueden ser bienhechores, muy valiosos y hasta caros, pero hay otros muy poco recomendables, porque no aportan nada bueno.Jesús instó a sus discípulos a compartir el mensaje que él había proclamado a costa de su propia vida: el evangelio no debe ser callado bajo ningún pretexto. Tiene que ser proclamado a todo mundo para que llegue a toda la humanidad y cumpla su misión, antes de que sea demasiado tarde.El apóstol Pablo siente tan a pecho esa responsabilidad, que exclama: «¡Ay de mí, si no anuncio el evangelio!» (1 Cor. 9: 16). Y exhorta al joven Timoteo en estos términos: «Te suplico encarecidamente [...] que prediques la palabra y que instes a tiempo y fuera de tiempo. Redarguye, reprende, exhorta con toda paciencia y doctrina [...]. Cumple tu ministerio» (2 Tim. 4: 1-5).Cuando la historia parece avanzar a ciegas por derroteros inciertos, no es tiempo de silenciar que Jesús ha prometido volver. Sería un silencio demasiado caro. El mundo necesita más que nunca un mensaje de cordura, de solidaridad y de esperanza.Inspírame, Señor, para que sepa romper el silencio cuando convenga. 

This episode is a follow-up to The Sound Barrier series, which explores our brain's relationship to sound. In our third episode of the series, we asked listeners to try to experience silence and record what they heard. Today, we share the sounds of quiet from across the world in a tribute to John Cage's 4'33”. Plus, Tinnitus researcher and Unexplainable guest Dan Polley answers your questions from the series. Guest: Dan Polley, tinnitus researcher at Mass Eye and Ear. Thank you to everyone who wrote in and shared their silences. If you still have thoughts or questions about the series,  write us! We also heard from a few teachers who plan to use the series as a part of their curriculum. Is this you? Let us know! For show transcripts, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unxtranscripts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ For more, go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/unexplainable⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ And please email us! ⁠⁠⁠⁠unexplainable@vox.com⁠⁠⁠⁠. We read every email. Support Unexplainable (and get ad-free episodes) by becoming a Vox Member today: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vox.com/members⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Évszázadokon átívelő zenetörténeti elemzések, kortárs popzenei leágazások és személyes kapcsolódások érnek össze Fazekas Gergely zenetörténész írásaiban, melyek közül az elmúlt években számos a 444-en jelent meg, és melyeket idén egy kötetben fogott össze. Így adta magát, hogy a Nem rossz könyvek podcastban a komfortzónánkból kissé kimozogva, zenetörténeti és zenehallgatási kérdésekről beszélgessünk Fazekas Gergellyel, aki nemcsak a Zeneakadémia tanára, de mellette a popdalokat szétszedő Dalszerelőműhelyt is vezeti. A tartalomból: 00:00 Készülve már az évzáró részre, most csak egyetlen könyvet említünk röviden: Veronica Pacini - A nő teste. 02:30 Vendégünk Fazekas Gergely, akit elsőnek a zenéhez vezető útjáról és az első emlékezetes lemezről kérdezünk. (Otto Klemperer - Bach H-moll mise) 07:40 Mit csinál egy zenetörténész? És mit ad ehhez a filozófia? 14:00 Mennyit számít, hogy gyerekként mit hallgatunk? A klasszikus zene közönsége nem öregszik, hanem alapvetően nem fiatal. 16:45 Hogyan lehet egyáltalán zenéről írni? Az élményt magát írásban visszaadni nem feltétlen lehet, de az élménynek megágyazni meg lehet a szöveggel. És a zenekultúra, amiben benne élünk, akkor is, ha nem tudunk róla: John Williams, mint zseniális 19. századi szerző. 26.30 Mitől hat ránk a zene? Pogány Induló, aura és bongortól az Apa. 30:00 A zenei kánon, amit ismerünk, és ki az, aki megérdemelné, de még sincs igazán benne? Például Henry Purcell. És mi lenne velünk, ha többé nem hallgatnánk 1985 előtti zenét? Még egy zeneszerző, akit érdemes ismerni: Jan Dismas Zelenka. 34:50 A 20. század egyik legfontosabb zeneműve: John Cage 4'33-ja, és Paul McCartney új néma dala az AI ellen. És a feltételezés, hogy a klasszikus zene még mindig inkább védett övezet az AI-jal szemben, legalábbis a popzenéhez képest biztosan. 42:30 A megszelídülő popzene és a gyerekek által mutatott zenék jelentette kihívások. Az emlegetett Carson Coma-cikk, és a szintén emlegetett Jean-Baptiste Lully. A szintén szóba hozott Rosalía albumról pedig írtunk is. 49:30 Hogyan hallgassunk zenét? Zenehallgatási típusok 53:30 Három lemez és három könyv Fazekas Gergely ajánlásában: Víkingur Ólafsson - Opus 109, Concerto Copenhagen - Bach H-moll mise, és Beyoncé - Cowboy Carter, valamint David Szalay - Flesh, Biró Zsombor Aurél - Visszatérő álmom, hogy apám vállán ébredek (podcastunk a szerzővel itt), és Jón Kalman Stefánsson életműve. See omnystudio.com/listener for privacy information.

Today's episode is based on Mason Currey's piece, John Cage on the true meaning of discipline. You should subscribe to Mason's essential newsletter, Subtle Maneuvers. And here's his piece about totally insane, unhinged, helpful strategies. Mason's book, Making Art and Making a Living is available for pre-order here. The John Cage interview excerpts come from The Internet Archive. Hear the whole thing @John Cage interviewed by Jack Hirschman in Los Angeles, 1963. Mason was last on TBAS talking about procrastinating properly. Learn more about your ad choices. Visit megaphone.fm/adchoices

What can you hear in silence? In this exploration of sound, host of the podcast "Twenty Thousand Hertz" Dallas Taylor tells the story of arguably the most debated musical composition in recent history -- composer John Cage's iconic piece 4'33" -- and invites you to take notice of the soundscape around you. Watch to the end to experience a performance of 4'33".This episode originally aired on August 12, 2020.For a chance to give your own TED Talk, fill out the Idea Search Application: ted.com/ideasearch.Interested in learning more about upcoming TED events? Follow these links:TEDNext: ted.com/futureyouTEDSports: ted.com/sportsTEDAI Vienna: ted.com/ai-vienna Hosted on Acast. See acast.com/privacy for more information.