Podcasts about John Giorno

Join our poetry Salon and Open Mic: https://parallax-media-network.mn.co/share/5hSLvQW7bNszFGEo?utm_source=manual About David Herz: Hello. My names are David Salzmann Herz. I was born in Boston 70 years ago when McCarthy was getting his comeuppance. I lived with my family somewhere in Massachusetts before moving to Belo Horizonte, Brazil , as part of the Department of the Interior's Punto Quatro program where my father was instrumental in mapping the geology and training a generation of Brazilian geologists. I began writing aged ten at the American school of Sao Paolo which had scorpions in the sandbox. I won a turtle for my prose. Then we lived in Chevy Chase, Maryland before moving to Athens, Ga. Where I met the poet Colman Barks and other luminaries. I moved to Chicago and studied briefly under Del Close at Second City and David Mamet who was then directing the Goodman Theater. As well as Richard McKeon at the University of Chicago who taught Susan Sontag among others. Then I returned home and drove a car from Selma, Alabama to Warminster Pennsylvania, possibly damaging the transmission while accelerating against the snow and ice. The next three years in a bankrupt New York City were richness incarnate. I worked at the Oh Ho So restaurant in SoHo and as a busboy served Harry Belafonte, one of the reasons God created humans, a glass of water. I had Alice Notley, poetess supreme, for a teacher and read my prose work at the Saint Marks in the Bowery Poetry Project. Those were wild times, buildings burning, trash uncollected, rapes a'plenty, and great generosity from compassionate lawyers, doctors and dentists for the impoverished lot we were. You could easily meet people such as John Cage, Merce Cunningham, John Giorno, Ted Berrigan, David Byrne, Patti Smith, Fred Sherry, Nam June Paik, Allen Ginsberg, Gregory Corso, Charles Bernstein, Tony Towle, Bill Berkson, Eileen Myles, Ted Greenwald, John Cale, Lydia Lunch, Alan Vega, and avoid others such as Valerie Solanas. And then just as I was about to join a rock and roll band I moved to Paris. It's been 45 years. Odd jobs subtitling movies and Sipa Photopress Agency photographs. Doing journalism for English language papers, interviewing the B- 52's, Peter Brook, Zouc, Herbert Achternbusch, Paul Lederman, Boris Bergman and then working for Bull and Alcatel two fine French corporations employing hundreds of thousands who equally vanished into the capitalist sunset. Thanks to a flutist friend in Ircam I got to meet Karlheinz Stockhausen and Pierre Boulez but I don't think they remember me. I did a translation for Sophie Calle before she became Sophie Calle. Also some work for the Royal family of Afghanistan. Back when there was one. At Paris VIII University still in the Bois de Vincennes with the whores whom we did not try to lead to culture I got to attend classes by Lyotard & Deleuze and the Miller Brothers, Lacan's son in laws? Noam Chosmky spoke. I thought to become a consultant in a moment of delusion and ended up teaching for the last 24 years: Polytechnique, SciencesPo, ENST, INT, Supelec, Ecole Centrale, ENPC, ENSTA, Paris V, ICP, ESIEE, ECE, Ecole du Louvre. Before that I was a technical translator, a field I am happy to report that has been almost entirely taken over by machines, bless their soulless bodies. I also got married and my wife and I had two children. But we hadn't really grown up much to the needless suffering of the children and so that marriage went painfully bust...Then I married again and we had a daughter. She's on the phone right now, de rigueur for all 16 year olds. I am a loving observer of the human experiment of which I am inextricably a part, how so ever much I would like to be apart. As we advance, not necessarily progress, into the numbing, memory erasing age of AI, already sinking its canines deep into our pranic jugulars, lose ourselves in our beloved electronic devices, we must look to our hands, our analog writing devices such as pencils and pens and give them a try. Along with all the rest.

SUMMARYIn this first episode of Season 6, producer Andrew Whiteman invites listeners to step into an arena of collaboration between poetry and sound. We all know it when we hear it, and we have mixed feelings about it. Why does the archaic meeting place of music and poem hit such a nerve? Is this art form literature or is it music? Surely, it's not song, is it? And if poems already carry their prosodic intentions within themselves – why bother supplementing them with extraneous audio?" These questions are answered by Siren Recordings, a new digital-DIY sonic poetry label run by Kelly Baron and Andrew Whiteman.*SHOW NOTESAudio played in the episode“Happy Birthday Ed Sanders Thank You!”, written and performed by Edward Sanders ( from "This is the Age of Investigation Poetry and Every Citizen Must Investigate” part of the “Totally Corrupt Dial-a-Poem Series by John Giorno. Found at https://www.ubu.com/sound/gps.html ) and Andrew Whiteman. Unreleased track. Audio clips of Amiri Barak, Helen Adam, and the Four Horseman from Ron Mann's 1980 film Poetry in Motion. found at https://vimeo.com/14191903.“The Great Reigns” written and performed by Erica Hunt ( from Close Listening with Charles Bernstein at WPS1 Clocktower Studio, New York, June 20, 2005, available at https://writing.upenn.edu/pennsound/x/Hunt.php ), and Andrew Whiteman. “#7” by Alice Notley and AroarA. Unreleased track. Text taken from Notley's book “In The Pines”, Penguin Books. 2007.“ Pinbot” and “Abu Surveillance” by Anne Waldman and Andrew Whiteman. Unreleased track. Text taken from Waldman's book “Iovis: the Trilogy”, Coffeehouse Press. 2011.“How I wrote Certain of my Books” by David UU and the Avalettes.  from the casette Very Sound (Sound Poems By David UU). Underwhich Audiographic Series, No.18. 1984.  "whn i first came to vancouvr” by bill bissett. from the cassette Sonic Horses. Underwhich Audiographic Series, No.19.1984. "From The Life & Work Of Chapter 7 (For Steven Smith)” by Tekst. from the cassette "Unexpected Passage”.Underwhich Audiographic Series – No. 15. 1982. “ Canto One” by Andrew Whiteman featuring Robert Duncan, Ezra Pound, Richard Sieberth, Al Filreis. buried somewhere at Penn Sound. https://writing.upenn.edu/pennsound/. Unreleased track.*PRODUCER BIOAndrew Whiteman is a founding member of the indie-rock collective Broken Social Scene, and a PhD student at Concordia University investigating the confluence of mythology and experimental poetics. He is a musician, producer and sound artist with special interest in Sonic Poetics, and has collaborated on recordings with Alice Notley (In The Pines, 2013) and Anne Waldman (IOVIS, 2023) among others. This work has led directly to the creation of Siren Recordings, a boutique sonic poetry label, hub and ever-growing archive he runs with Kelly Baron and Brandon Hocura.  His divinatory practice is located at https://intarotgate.com.

For most people, the “poetry reading” conjures stuffy intonation styles, cheap wine in plastic cups, and polite clapping. But for a riotous underground scene in 1980s Montreal, the poetry reading was the site for radical experimentation in artistic performance. At the Ultimatum Urban Poetry Festival, which first took place in 1985, literary all stars like William Burroughs, Kathy Acker, John Giorno, and Herbert Huncke performed alongside obscure Quebecois poets, all while embracing new technologies and a punk ethos to push poetry to its limits. The event—which ultimately dissolved into financial near-ruin and briefly required one of its organizers to flee the country to escape his creditors—broke boundaries in poetry and performance that have hardly been paralleled since.Until recently, recordings from the Ultimatum Festival were mostly kept in personal archives, and considered lost to many of the people who were part of the events. This episode recovers some of these recordings, made newly available for research since their digitization by a team at SpokenWeb. Featured alongside these recovered recordings are oral history interviews conducted by the “Listening Queerly Across Generational Divides” team—led by Principal Investigator Mathieu Aubin and researchers Ella Jando-Saul, Sophia Magliocca, Misha Solomon and Rowan Nancarrow—whose unique approach to archival study considers what it means to reconstruct a literary  event from the margins.This episode was produced by Frances Grace Fyfe, with support from Mathieu Aubin and the Listening Queerly Across Generational Divides team. Mastering and original sound by Scott Girouard.ARCHIVAL AUDIOAll archival audio played in this episode is from SpokenWeb's Ultimatum collection—including interviews conducted by Mathieu Aubin and Ella Jando-Saul with Alan Lord, Fortner Anderson, Sheila Urbanoski and Jerome Poynton, as a way of building this archival collection—with the exception of one clip of Alan Lord sourced from here. WORKS CITEDSchulman, Sarah. The Gentrification of The Mind: Witness to a Lost Imagination. University of California Press, 2013. Aubin, Mathieu. "Listening Queerly for Queer Sonic Resonances in The Poetry Series at Sir George Williams University, 1966 to 1971." ESC: English Studies in Canada, vol. 46 no. 2, 2020, p. 85-100. Project MUSE, https://doi.org/10.1353/esc.2020.a903543.FURTHER READING / LISTENINGLord, Alan. High Friends in Low Places. Guernica Press, 2021. Stanton, Victoria and Vince Tinguely. Impure, Reinventing the Word: The Theory, Practice and Oral history of Spoken Word in Montreal. Conundrum Press, 2001."What's that noise? Listening Queerly to the Ultimatum Festival." Produced by Ella Jando-Saul. The SpokenWeb Podcast, 19 June 2023, https://spokenweb.ca/podcast/episodes/whats-that-noise-listening-queerly-to-the-ultimatum-festival-archives/ 

Hamen, Samuel www.deutschlandfunk.de, Büchermarkt

Albath, Maike www.deutschlandfunk.de, Büchermarkt

Mengeringhaus, Maximilianwww.deutschlandfunkkultur.de, Studio 9

Mengeringhaus, Maximilianwww.deutschlandfunkkultur.de, Studio 9

Mengeringhaus, Maximilianwww.deutschlandfunkkultur.de, Studio 9

Es poesía en la que, más allá de utilizar la palabra como mero vehículo del significado, la composición del poema o el texto se estructuran en sonidos que requieren una realización acústica. La salida del poema de la página impresa empieza a verse en los primeros años del siglo XX._____Has escuchadoGrosso modo (1990) / Flatus Vocis Trio. Bartolomé Ferrando, Fátima Miranda y Llorenç Barber, voces. Xiu-Xiu Records (1990)Inger permutaciones (1971) / Juan Eduardo Cirlot. Javier Maderuelo, voz. E. G. Tabalet (1996)Les gouffres des bronches sont des cavernes infinies. Fresques de l'impalpable voix (1990) / Henri Chopin. Henri Chopin, voz. Grabación en directo de la interpretación en Garage Caméléon, Besançon, el 3 de febrero de 1995. Erratum Musical (2021)You're the Guy I Want to Share My Money With. I Don't Need It, I Don't Want It, and You Cheated Me Out of It (1981) / John Giorno. John Giorno, voz. Giorno Poetry Systems (1981)_____Selección bibliográficaBULATOV, Dmitry (ed.), Homo sonorus: una antología internacional de poesía sonora. Consejo Nacional para la Cultura, 2004CHOPIN, Henri, Poésie sonore internationale. Jean-Michel Place, 1979FERRANDO, Bartolomé, “Del fragmento, la repetición, el ritmo, la permutación, la aleatoriedad y la indeterminación en la poesía fonética y sonora”. Revista de Bellas Artes: Revista de Artes Plásticas, Estética, Diseño e Imagen, n.º 6 (2008), pp. 59-68—, El arte de la performance. Mahali, 2009*GONZÁLEZ AKTORIES, Susana, “Poesía sonora, arte sonoro: un acercamiento a sus procesos de semiosis”. Acta Poética, vol. 29, n.º 2 (2008), pp. 375-392HILDER, Jamie, “Concrete Poetry and Conceptual Art: A Misunderstanding”. Contemporary Literature, vol. 54, n.º 3 (2013), pp. 578-614*KOSTELANETZ, Richard, “Text-Sound Art: A Survey”. Performing Arts Journal, vol. 2, n.º 2 (1977), pp. 61-70*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001LAFUENTE, José María (ed.), José Luis Castillejo y la escritura moderna. Ediciones La Bahía, 2018*MARÍN SÁNCHEZ, Eduardo Jesús, La poética del fragmento y del intervalo en la poesía experimental sonora de Bartolomé Ferrando. Tesis doctoral, Universidad Miguel Hernández de Elche, 2013MOLINA ALARCÓN, Miguel, “La poesía sonora de las últimas tres décadas en el panorama valenciano (1980-2012)”. En: Los últimos 30 años del arte valenciano contemporáneo. Editado por Román de la Calle. Real Academia de Bellas Artes de San Carlos, 2012PIQUER, Ruth, “Ultraísmos y retornos: poesía, música y plástica en las revistas de vanguardia (1918-1923)”. En: Sinergias para la vanguardia española (1898-1986). Editado por Ruth Piquer. Libargo, 2016*SARMIENTO, José Antonio, La otra escritura: la poesía experimental española, 1960- 1973. Ediciones de la Universidad de Castilla-La Mancha, 1990—, Las veladas ultraístas. Ediciones de la Universidad de Castilla-La Mancha; Centro de Creación Experimental, 2013*WENDT, Larry, “Sound Poetry: I. History of Electro-Acoustic Approaches II. Connections to Advanced Electronic Technologies”. Leonardo, vol. 18, n.º 1 (1985), pp. 11-23**Documento disponible para su consulta en la Sala de Nuevas Músicas de la Biblioteca y Centro de Apoyo a la Investigación de la Fundación Juan March

Drangsal war zuletzt mit Die Benjamins zu hören. Jetzt bringt er mit „Life Is A Killer“ überraschend einen neuen, eigenen Song heraus. Dazu inspiriert ihn der Performance-Künstler John Giorno. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-drangsal-life-is-a-killer

Drangsal war zuletzt mit Die Benjamins zu hören. Jetzt bringt er mit „Life Is A Killer“ überraschend einen neuen, eigenen Song heraus. Dazu inspiriert ihn der Performance-Künstler John Giorno. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-drangsal-life-is-a-killer

Drangsal war zuletzt mit Die Benjamins zu hören. Jetzt bringt er mit „Life Is A Killer“ überraschend einen neuen, eigenen Song heraus. Dazu inspiriert ihn der Performance-Künstler John Giorno. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-drangsal-life-is-a-killer

Drangsal war zuletzt mit Die Benjamins zu hören. Jetzt bringt er mit „Life Is A Killer“ überraschend einen neuen, eigenen Song heraus. Dazu inspiriert ihn der Performance-Künstler John Giorno. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-drangsal-life-is-a-killer

Drangsal war zuletzt mit Die Benjamins zu hören. Jetzt bringt er mit „Life Is A Killer“ überraschend einen neuen, eigenen Song heraus. Dazu inspiriert ihn der Performance-Künstler John Giorno. Hier entlang geht's zu den Links unserer Werbepartner. Wenn ihr mithelfen wollt und könnt, unser Podcast-Radio dauerhaft zu erhalten und auszubauen, dann freuen wir uns auch über eure finanzielle Unterstützung. Ihr könnt uns jetzt auch schon ab 3,33 Euro pro Monat mit einem „Kaffee fürs Team“ bei Steady unterstützen. Alle Infos unter: detektor.fm/danke >> Artikel zum Nachlesen: https://detektor.fm/musik/popfilter-drangsal-life-is-a-killer

durée : 02:05:00 - Les Nuits de France Culture - par : Albane Penaranda - Par Gérard-Georges Lemaire - Avec Chantal Thomas, Jacques Darras et Eric Sarner (3), Alain Kirili, John Giorno, Brion Gysin, Bernard Heidsieck, Claude Minière et Olivier Kaeppelin (4), Denis Roche, Philippe Sollers, Alain Kirili et Christian Descamps (5) - Réalisation Jacques Taroni

The group gathers at the Writers House's Wexler Studio to discuss John Giorno's 1977 poem, "Everyone is a complete disappointment."

Hosted by Al Filreis and featuring Brooke O'Harra, Michelle Taransky, and Chris Funkhouser.

The SLC Performance Lab is produced by ContemporaryPerformance.com and the Sarah Lawrence College MFA Theatre Program. During the course, visiting artists to the MFA Theatre Program's Performance Lab are interviewed after leading a workshop with the students. Performance Lab is one of the core components of the program where graduate students work with guest artists and develop group-generated performance experiments. David Neumann and Marcella Murray are interviewed by Chisom Awachie (SLC 23) Marcella Murray is a New York-based theatre artist from Augusta, Georgia, Murray is a playwright, performer, collaborator, and puppeteer. Her work is heavily inspired by the observed ways in which people tend to segregate and reconnect. Her work tends to focus on themes of identity within a community and (hopefully) forward momentum in the face of trauma.  Performances include The Slow Room, a piece directed by Annie Dorsen at Performance Space New York; a workshop of Ocean Filibuster, which was co-created by the team Pearl D'Amour (Lisa D'Amour and Katie Pearl) with composer Sxip Shirey at Abrons Arts Center; the work-in-progress, I Don't Want to Interrupt You Guys, created in collaboration with Leonie Bell and Hyung Seok Jeon during RAP at Mabou Mines; New Mony, created by Maria Camia at Dixon Place; and Shoot Don't Talk at St. Ann's Warehouse/Puppet Lab, created by Andrew Murdock.  Along with David Neumann, Murray recently co-created Distances Smaller Than This Are Not Confirmed (Obie Special Citation for Creation and Performance), which opened at Abrons Arts Center in January 2020. Murray is part of an artist collective called The Midwives. As artistic director of Advanced Beginner Group, Neumann's original work has been presented in New York at PS 122, New York Live Arts, The Kitchen, Central Park Summerstage (in collaboration with John Giorno), Symphony Space (in collaboration with Laurie Anderson), Abrons Arts Center, The Chocolate Factory, and The Whitney. Advanced Beginner Group has also performed at the Walker Art Center, Jacob's Pillow, MASS MoCA, American Dance Institute, and Carolina Performing Arts, among others. Neumann has been a featured dancer in the works of Adrienne Truscott, Susan Marshall, Jane Comfort, Big Dance Theater, Doug Varone, Doug Elkins Dance Company, and in two duets with Mikhail Baryshnikov. His choreography in the theatre includes The Antipodes at Signature Theatre, Futurity with Soho Rep and Ars Nova, An Octoroon at Soho Rep, Underground Railroad Game at Ars Nova, and directing Geoff Sobelle in The Object Lesson at BAM Fischer and New York Theatre Workshop. Neumann was choreographer on Hagoromo with Wendy Whelan and Jock Soto, Home at BAM Harvey, and Sibyl Kempson's Let Us Now Praise Susan Sontag at Abrons Arts Center. His film work includes collaborations with Hal Hartley, I Am Legend with Will Smith, Marriage Story with Adam Driver and Scarlett Johanssen, and White Noise directed by Noah Baumbach. Neumann is the recipient of three New York Dance and Performance “Bessie” Awards (including Best Production in 2015 for I Understand Everything Better). The third installment of the Distances... trilogy, in collaboration with theatre artists Marcella Murray and Tei Blow, will be presented in New York in 2024. Neumann has also been nominated for Tony, Drama Desk, and Outer Circle Critics awards for his choreography on Hadestown. He is also the recipient of a 2019 Chita Rivera Award for Outstanding Choreography of a Broadway Musical for Hadestown. Most recently, Neumann was choreographer on Swept Away, with music by the Avett Brothers at Berkeley Rep. Photo: Maria Baranova

State of the Arts Episode 102 just released! In 1968 poet and visual artist John Giorno created "Dial-A-Poem" which is a telephone service that communicates poetry to callers. The service began at the Architectural League of New York. "Dial-A-Poem" ended up being an art display in many prominent museums. A table with a few telephones were set up at each of these museums for patrons to listen to recordings of poetry from many different authors (including John Giorno himself). More than one million people used this service in the comfort of their own homes and workplaces however, which inspired a range of similar services to be created. These services include "Dial-A-Joke," "Dial Sports" and "Dial-A-Horoscope." In 1969 after a review was received for "Dial-A-Poem" in the New York Times, they received millions of calls which caused 250,000 busy signals on the first day. In the 1980's, John Giorno released fifty albums of "Dial-A-Poem" poets to encourage people to start their own "Dial-A-Poem" hotlines. John Giorno passed away in 2019, but not without etching his legacy into the scene of New York art. Not only was he the creator of the successful not-for-profit Giorno Poetry Systems, he was also the subject of Andy Warhol's film "Sleep." This long-time practitioner of Tibetan Buddhism was a prominent activist in the cause of AIDS awareness as well. "Dial-A-Poem" has been revived recently and can be accessed by calling 917-994-8949. This one-of-a-kind episode is an homage to this awe-inspiring artist and his work. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Közel hozni, valahogy más módon megszólítani a költészet iránt érdeklődőket - ezen dolgozik immár három éve a párizsi Pompidou Központ, amikor minden évben egy-egy emblematikus figura köré szervezi költészeti napját. 2020-ban John Giorno, 2021-ben Charles Baudelaire munkássága és öröksége állt a középpontban, idén ősszel pedig egy élő legenda, Patti Smith kerül a fókuszba. A világ számos nagyvárosában szintén megrendezik az egész napos Patti Smith Poetry Day rendezvénysorozatot, mely Budapesten október 1-jén zajlik hét helyszínen délelőtt 10.00-től késő estig. Zenehallgató kapszulák, interaktív színház, akadálypálya-építés, improvizáció, performansz, szabad asszociációs séta, kiállítás, tánc, kerekasztal-beszélgetés, koncert, mindez a FreeSZFE hallgatói rendezésében. Hogyan lehet inspiráció Patti Smith élete, munkássága a Z generáció szemszögéből? Erről beszélgetünk Porogi Dorka társszervezővel és Gálhídy Sárával, a Freeszfe hallgatójával, két programhelyszín rendezőjével. A Wanted podcast adása az NKA Hangfoglaló Program támogatásával készült.

A Taste of the Dial A Poet Archive. This episode includes Allen Ginsberg, William Burroughs, Anne Waldman, Diane diPrima, Jim Carroll, Frank Ohara, and John Giorno. Let's cover some groundwork. CREDITS: SOURCES- We have no claim or rights and are not copyright holders. This is an education, designed to entice further investigation. Not commercial use. We respect all parties and wish hope this applauds the efforts of those that are involved. Always let us know if there is an issue we can fix. Sourcing: UBUWeb Picture archives. Sounds Collection. AllenGinsberg.org GREAT resource Open Sources, like Archive.org, and other Free or Rights Approved content and media sources Ok, busted. We googled a lot... The whole point is to get the audience to learn more. To entice further investigation into a slice of American Lit History. Got beef? Let us know. We will fix it in the most Buddhist-vegan way! In keeping with the Dial A Poet tradition, I'd welcome you to visit our Anchor Podcasting site. Let's relive the moment... anchor.fm/socialyetdistanced select Message and leave feedback on this segment, and a poem of youd like. (1 min limit...sorry, they warned us about technology and free speech) This is only a sampling. Go. Listen, and join us. note: Allen Ginsberg, William Burroughs, Anne Waldman, Diane diPrima, Jim Carroll, Frank Ohara and John Giorno this episode. --- Send in a voice message: https://podcasters.spotify.com/pod/show/socialyetdistanced/message Support this podcast: https://podcasters.spotify.com/pod/show/socialyetdistanced/support

Programme RODOLPHE BURGER pour websynradio : INEDITS ET RARETES - Un podcast qui fait la part belle aux raretés comme cette version italienne de “La chambre” de Kat Onoma, enregistrée à Milan avec le groupe Dining Rooms, et aux inédits comme ce chant allemand du 19e , "Die Gedanken sind frei", ou ce "Listen to Liberty" sur un texte de Stacy Doris dans une production de Yves Dormoy. Les poétes sont à l'honneur, avec les mises en en musique de textes d'Eugène Savitzkaya, Hélène Bessette, Kathy Acker, Anne Portugal, John Giorno, Olivier Cadiot... tout au long de cette ample et généreuse exploration (près de 3h30).

Morgan Krantz is a filmmaker and all around good, nice guy. we talk smoking with children, mothers (Rest In Peace), burning hair, living and working inside a long running TV series, acting as compared to living on an Oil Rig, directing, isolation, growing up in Los Angeles, Jon Lindsey's Body High, The Master Of Cum, Betsey Brown, Actorcellectuals and all the actor memes, exposing oneself, putting your guts and dick on the table, the impulse to relate to each other as artists, being employed by a corporation, artists and brands and dirty words, John Giorno, giving Warhol head with shaking fingers, pissing off your parents with your movies, deep exposure, the hot pot, the cold eye, sense memory and dealing with your past and a lot of other pulverizingly personal shit - available now on everything (thank you to the ion pack for reminding me about mario paint, which scores this sode)if you have 5 bucks you can support the pod on patreon here 

Episode 63 An Electronic Poetry Slam   Playlist Roland Giguere, “Les Heures Lentes” from Voix De 8 Poètes Du Canada (1958 Folkways). Spoken poetry intermixed with musique concrete by Francois Morel. The electronic music and poetry are never heard simultaneously on this album, but the music was composed to set the tone for each work that followed. 1:29. François Dufrêne & Jean Baronnet, “U 47” from A Panorama Of Experimental Music, Vol. 1: Electronic Music / Musique Concrete (1967 Mercury). Dufrêne was a French sound poet and visual artist who performed what he called "crirythmes," a style of vocal noises. The electronic music on tape was composed by Baronnet, who was a co-founder, with Pierre Henry, of Studio Apsome, their private studio for electronic music, after their break from the GRM studios of Pierre Schaeffer in 1958. Recorded under the supervision of Pierre Henry, in collaboration with the sound laboratories of the West German Radio (Cologne), Italian Radio (Milan), French Radio and Television (Paris), and the Studio Apsome (Paris). 3:33 Intersystems, “A Cave in the Country” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 1:50 Intersystems, “Carelessly Draped in Black” from Peachy (1967 Pentagon). This was the Canadian experimental music band that produced some radically original music and performed live events mostly in the Toronto area from 1967 to 1969. Poetry and vocals by Blake Parker. Electronic music using the Moog Modular synthesizer by John Mills-Cockell. Performers, Blake Parker, Dik Zander, John Mills-Cockell, Michael Hayden. 4:32 Bruce Clarke, “Of Spiralling Why” from The First See + Hear (1968 See/Hear Productions). From See/Hear, a quarterly publication of recordings of contemporary sound arts. There were three issues total. All from Canada. When there was electronic music, it was provided and created by Wayne Carr using a Buchla Box. Carr was associated with all three of the See/Hear albums/issues. This piece was commissioned for the Adelaide 1968 Arts Festival by the Melbourne ISCM, fragments of poetry were chosen at random from the unpublished works of the late Ann Pickburn, whom I believe you hear performing her words on this track. 9:35 Jim Brown and Wayne Carr, “Blues for Electric” from Oh See Can You Say (1968 See/Hear). Poetry and synthesizer. Poetry and voice, Jim Brown; engineer, Buchla Box, Wayne Carr. The second LP of this quarterly LP/magazine that seemed to only have three issues. “Wayne Carr plays synthesizer whenever it happens.” This is noted on another LP as a Buchla Box, so I've assumed that's what he used on all three albums. 3:09 bill bissett & Th Mandan Massacre (sp), “fires in th tempul” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 3:32 bill bissett & Th Mandan Massacre (sp), “now according to paragraph c” from Awake In Th Red Desert (1968 See/Hear Productions). Poetry and voice, Bill Bissett; Toy Flute, Roger Tentrey; Flute, Tape Recorder, Ross Barrett; Guitar, Terry Beauchamp; Percussion, Gregg Simpson, Harley McConnell, Ken Paterson, Martina Clinton; Producer, Jim Brown; Buchla Box, engineer, Wayne Carr. 2:40 Ruth White, “The Irremediable” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 4:55 Ruth White, “The Cat” from Flowers Of Evil (1969 Limelight). Electronic music, translations, and vocalizations by Ruth White. Words by Charles Baudelaire. Legendary American electronic music pioneer, most noted for her early explorations of sound using the Moog synthesizer. "An electronic setting of the poems of Charles Baudelaire composed and realized by Ruth White." 3:27 Charles Dodge, “Speech Songs: No. 1 When I Am With You (Excerpt)” and “Speech Songs: No. 2 He Destroyed Her Image (Excerpt)” from from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Realized at the Bell Telephone Laboratories for computer music in 1975. 3:45 William Hellermann, “Passages 13 – The Fire (For Trumpet & Tape)” from Peter Maxwell Davies / Lucia Dlugoszewski / William Hellerman, Gerard Schwarz, Ursula Oppens, The New Trumpet (1975 Nonesuch). Composed by William Hellermann; voices, Jacqueline Hellerman, John P. Thomas, Marsha Immanuel, and Michael O'Brien; words by Robert Duncan. This poem was first published in 'Poetry,' April-May 1965. Tape realized by Hellerman at the Columbia-Princeton Electronic Music Center. 25:28 Robert Ashley, “In Sara, Mencken, Christ And Beethoven There Were Men And Women (Excerpt)” from 10+2: 12 American Text Sound Pieces (1975 1750 Arch Records). Lyrics By – John Barton Wolgamot; Moog Synthesizer,Paul DeMarinis; Voice, Robert Ashley. Excerpt from an album-length work released in 1974 on Cramps Records. 3:53 Robert Ashley, “Interiors with Flash” from Big Ego (1978 Giorno Poetry Systems). A study for what would become Automatic Writing, a longer work by Ashley. recorded at Mills College, Oakland, California, May 14, 1978. Voice, Mimi Johnson; Electronics, Polymoog, Voice, written, produced, and mixed by Robert Ashley. 3:05 Joan La Barbara, “Cathing” from Tapesongs (1977 Chiaroscuro Records). Composed, produced, edited and sung by Joan La Barbara. The story behind this piece is a great one. In the 1970s, La Barbara, along with Meredith Monk, emerged in America as two of the premiere practitioners of avant garde vocalizing. Some might recognize the name of this piece as possibly a tribute to Cathy Berberian, the earlier generation's version of an avant garde diva (La Barbara and Monk would never consider themselves as divas in the sense that Berberian was). Rather than being a tribute to Berberian, La Barbara was responding to a radio interview (apparently broadcast during the intermission of her concert at the 1977 Holland Festival). Berberian was outspoken about the new generation of vocalists and wondered out loud how any respectable composer could write for “one of those singers.” La Barbara's response, composed in response, took excerpts from the interview (20 phrases), edited and rearranged them, altered them electronically to compose this piece. In her liner notes, she only identifies Berberian as another “professional singer.” Take that! 8:01. Laurie Anderson, “Closed Circuits” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). One of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. I think this was the tenth album from Giorno that began in 1975 with the Dial-A-Poem Poets. Electronics (Microphone Stand Turned Through Harmonizer), Wood Block, voice, Laurie Anderson. 7:23. Background music for opening Laurie Anderson, “Dr. Miller” from You're The Guy I Want To Share My Money With (1981 Girono Poetry Systems). Another of Anderson's tracks from this 2-LP collection of text and poetry that also includes works by John Giorno and William Burroughs. This is another version of a track that later appeared on Anderson's Unted States Live LP in 1984. Saxophone, Perry Hoberman; Synthesizer, Percussion, voice, Laurie Anderson. 4:19 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog, Noise and Notations.

In 1964, the artist Andy Warhol created the avant-garde film ‘Sleep'. It came in at 5 hours 20 minutes, and consisted entirely of footage of poet John Giorno sleeping. Later that same year, Warhol would go further and make the film ‘Empire', which consisted entirely of slow motion footage of the same view of the Empire State Building, and came in at 8 hours 5 minutes. Both of these films were more exciting than St Johnstone v St Mirren on Saturday. However, worry not, because Sam and Dan have got your back, and we're going to bring some good time entertainment in Episode 38 of Dogger Saints: An Unofficial St. Johnstone Podcast! We take a very, very quick look on Saturday's draw against the men from Paisley, with particular reference to Shaun Rooney's wild 45, which was genuinely about as exciting as it got. Alas, we don't even have a guest to cheer you up this week, but so you don't have to listen to us talk about that game for any longer than necessary, we take a walk down memory lane with some clips of some of our favourite interview moments from the first 37 episodes. Fear not though my sweet, sweet friends, we've got features by the bucketload for you this week, with a trip to the Royal revealing what you can do when you're having a tinkle next to a Saints legend, or indeed a Scottish singing sensation. We also head over to the Club Shop of Shame to discuss why Benfica deserve their European curse, we go all Tennis the Menace in this week's Theme Team and a welcome return of Doggers on Tour take us to the chilly north for a wee Finnish double-dunter. Scooter Gran! Sex Tips with Lynne Hoggan! Fat lads from Idaho posing as hot girls on Facebook! We've (somehow) got all of this and much, much more. So put your feet up, and let the boys treat you to a damn good time. Get there!

What up y'all! So stoked to bring you episode 30 of Getting Stoned! In this episode I do my usual vibe out in the beginning and I read a poem by Eileen Myles titled, I Always Put My Pussy and another poem by John Giorno titled, Just Say No To Family Values. I also do a cover of the Foo Fighters song, Times Like These and an original tune, Today. As always I thank you from the bottom of my heart for giving a listen! Peace & Love, Stone --- Send in a voice message: https://anchor.fm/stonepetoskey/message

In this episode, the ghosts of William Burroughs, Jack Kerouac, Alan Ginsberg, John Giorno and Bob Cobbing make an appearance at the Bureau - as curator Steve Cleary plays us a selection of super rare recordings from the British Library Sound Archive. The Archive is one of the biggest curated resources of audio in the world and includes over 1 million discs, 185,000 tapes, and many other sound and video recordings from around the globe. Steve takes us on a wander through its unparalleled counterculture collection.We also hear from the capital's foremost chronicler of the counterculture, Barry Miles, on Burroughs' life in London - along with a live recording of the beat writer at Manchester's Hacienda, a sampling of his cutups, some deeply strange sound poems and a wonderful recording of Kerouac jazz scatting at Neal Cassidy's house.This is the Soho Radio podcast, showcasing the best broadcasts from our online radio station in the heart of London.Across our Soho and NYC + Culture channels, we have a wide range of shows covering every genre alongside chat, discussions and special productions.To catch up on all things Soho Radio head on over to mixcloud.com/sohoradio or tune in live anytime at sohoradiolondon.com.Support this show http://supporter.acast.com/soho-radio. See acast.com/privacy for privacy and opt-out information.

The ghosts of William Burroughs, Jack Kerouac, Alan Ginsberg, John Giorno and Bob Cobbing make an appearance at the Bureau - as curator Steve Cleary plays us a  selection of super rare  recordings from the British Library Sound Archive.   The Archive is one of the biggest curated resources of audio in the world and includes over 1 million discs, 185,000 tapes, and many other sound and video recordings from around the globe  Steve takes us on a wander through its unparalleled counterculture collection.   We also hear from the capital's foremost chronicler of the counterculture, Barry Miles, on Burroughs' life in London  - along with a live recording of the beat writer at Manchester's Hacienda, a sampling of his cutups, some deeply strange sound poems and a wonderful recording of Kerouac jazz scatting at Neal Cassidy's house.   For more on the British Library Sound Archive https://sounds.bl.uk   ---------- Get the Bureau's Newsletter   Support our wild endeavours   The Bureau of Lost Culture Home   Go on - follow, rate and review us - or be in touch directly bureauoflostculture@gmail.com We'd love to hear from you. -------------    

This episode, we are thrilled to be joined by the visionary Elizabeth Dee, Co-Founder and CEO of the Independent Art Fair. Conceived and initiated in 2009, the Independent has rapidly become one of the most important and influential art fairs globally and will be hosted at New York's Battery Maritime Building in just a few weeks, from September 9th to September 12th. You can find more about the fair here. In addition to her role as Founder of the Independent, Elizabeth is a seasoned art world professional. Elizabeth opened her namesake gallery in New York's SoHo district in 1997 and proceeded to launch her first public space in 2002 in Chelsea, working with world-class artists including Adrian Piper, Ryan McNamara, and John Giorno. Last July, Elizabeth also became Director of the recently established John Giorno Foundation, an organization dedicated to grant-making and preserving the legendary artist's work. In some exciting news, the foundation will actually be facilitating a posthumous exhibition of the artist's work in London at Almine Rech Gallery this October (so lots to look forward to). Some artists discussed in this episode: William S. Burroughs Adrian Piper Ryan McNamara John Giorno Édouard Manet Sherrie Levine Richard Tuttle Richard Artschwager Robert Gober Jeff Koons Les Rogers Hans Haacke Derek Jarman Sally J. Han Chase Hall Bosco Sodi Jordan Wolfson Robert Barber Cory Arcangel Jodi Lynda Benglis Michael Goldberg For images, artworks, and more behind the scenes goodness, follow @artfromtheoutsidepodcast on Instagram.

Episode 41 Sounds for Museums Sound Art to Accompany Exhibits Playlist François Baschet, Bernard Baschet, and Jacques Lasry, “Sonatine (3 Mouvements)” from Structures for Sound (1965 BAM). The exhibition 'Structures For Sound-Musical Instruments' by François and Bernard Baschet was shown at The Museum of Modern Art, New York, from October 4 to December 5, 1965. Although not heard in the exhibit, this set of compositions was co-marketed by the museum and BAM and clearly intended as a takeaway souvenir. The recordings were made in France, and released there as Les Structures Sonores Lasry-Baschet, then repackaged for the US market and exhibit. The piece was written by Jacques Lasry. Various Artists, Art By Telephone (1969 Museum Of Contemporary Art Chicago). Artists were asked to phone-in instructions for a work of art to be exhibited at Art by Telephone, held at the Museum of Contemporary Art Chicago. The museum released a recording of the phone calls and sold it at the exhibit. Here are four excerpts by John Giorno, Dick Higgins, Sol Lewitt, Richard Serra, and Jack Burnham. In total, 38 artists provided instructions that were included on the album. Audio Arts: Volume 3 No 4 Side A (1977 Audio Arts). Excerpts from a radio work by John Carson broadcast by Downtown Radio, Belfast in 1977. The program was a compilation of recordings made in June 1977 at Documenta VI, an international exhibition of contemporary art in Kassel, West Germany. We hear two excerpts, the first from artist Wolf Vostell which opens with the sound of bubbling water and the second a sound work by Achim Freyer. These audio works played in the exhibit. Other portions of the complete cassette recordings alternated between statements/interviews and sound environments/installations. Audio Arts was a magazine in continuous publication for 33 years and ran to 24 volumes, each of four issues. Various artists, from Sound (1979 Los Angeles Institute of Contemporary Art). Four of the tracks from this collection are included: Terry Fox, “Labyrinth Scored For II Cats” (1979); Jim Gordon, “Piece For Synthesizers, Computers And Other Instruments” (1979); Doug Hollis, “Aeolian Harp” (1975-76), composed 1975-76 at the San Francisco Exploratorium; Bill Fontana, “Kirribilli Wharf” (1979). Album produced for SOUND. An exhibition of sound sculpture, instrument building and acoustically tuned spaces. Los Angeles Institute of Contemporary Art July 14-August 31, 1979. P.S.I. New York, September 30-November 18, 1979. Jeff Gordon, “Everyone's An Artist” (1984). Vocal Jeff Gordon and Mug Maruyama; Programming, Graham Hawthorne; Emulators/Keyboards, Jeff Gordon. Gordon produced Revolutions Per Minute (The Art Record), a collection of audio tracks by artists released as a double LP. This track by Gordon was not included in that release but I think was used for a traveling exhibition featuring sound, The RPM Touring Exhibitions, designed by Gordon and his wife Juanita, that toured the US and Europe for over four years, including The Tate Museum in London. Laurie Anderson, “The telephone,” “The polaroid,” “The sheet,” “The wedding dress,” “The bathrobe” from La Visite Guidée (1994). Music: Laurie Anderson; Voice: Sophie Calle. Exhibition catalogue consisting of artist's book and Audio CD published in conjunction with the show held March 27- 29, 1994. The work consisted of a total of 21 short compositions. We hear five consecutive tracks from the collection. This audio was provided on a cassette for the exhibit, which visitor's played on a Sony Walkman while taking a guided tour of the Sophie Calle's exhibition Absent. Steven Vitiello. World Trade Center Recordings: Open House Bounce (1999). A recording from the 91st floor of the World Trade Center, Tower One made with contact microphones placed on the inside of the windows. This recording was only published as part of a CDR sold at an Open House Exhibition in the fall of 1999. Various recordings were made during a 6-month residency. This one in particular picked up a number of passing planes and helicopters. Various artists, Whitney Biennial 2002 (2002 Whitney Museum Of American Art). A CD was included with the 292-page hardcover catalogue "Whitney Biennial 2002" published for the same-titled exhibition at the Whitney Museum Of American Art, March 7-May 26, 2002. Four tracks are heard: Maryanne Amacher, “A Step Into It, Imagining 1001 Years Entering Ancient Rooms” (excerpt); Meredith Monk, “Eclipse,” with performers Ching Gonzalez, Katie Geissinger, Meredith Monk, Theo Bleckmann; Marina Rosenfeld, “Delusional Dub;” Tracie Morris, “Slave Sho' To Video A.k.a. Black But Beautiful.” 33 RPM: Ten Hours of Sound From France (2003 235). Exhibition companion compilation to San Francisco Museum of Modern Art, Sept. 6-14, 2003, listening room program. 33 RPM consisted of ten one-hour segments that were played on a rotating schedule at the museum during the exhibition. This was the fourth installment of an ongoing series at the museum that presented sound art scene in a variety of countries. We include the following tracks from this compilation: Kasper T. Toeplitz, “PURR#2” (2003); Jean-Claude Risset, “Resonant Sound Spaces/Filters” (2002); Mimetic, “evolution” (2003); and Lionel Marchetti, “À rebours” (1989). Jane Philbrick, "Voix/e" (2003-04 SW Harbor Songline). Installation two lightboxes, with color Duratrans (large-format backlit color transparency film), 48 x 24 x 6; two inset Alpine speakers, synthesized voice track, 9 1/2 mins. looped.; two companion LCD-screen DVDs. On view at Real Art Ways, Hartford, CT, and Consolidated Works, Seattle (2004). Audio work created by Jan Philbrick at the Center for Spoken Language Understanding, Oregon Graduate Institute. The piece consists of Philbrick's reading of the "Song of Solomon," modified and edited using voice-gendered speech synthesis to speak bride, groom, and companion parts. Marko Timlin, “Audible Light” (2017), Created by Marko Timlin, a Finnish sound artist whose work has frequently been integrated into museum installations. This installation, Audible Light, created sound directly out of light, “work inspired by Evgeny Sholpo's Variophone instrument developed in 1930.” Solo exhibition, Oksasenkatu 11 in Helsinki. Not to be confused with the 2000 museum exhibition called Audible Light at the Museum Of Modern Art, Oxford, to be featured in a future podcast. Opening montage: sounds from the recordings of Art By Telephone (1969 Museum Of Contemporary Art Chicago) and Audio Arts: Volume 3 No 4 Side A, cassette (1977 Audio Arts). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

Miranda July is an artist ahead of her time: a prolific filmmaker, writer, musician, actor and more. Her work deliberately leads us into discomfort – and then hugs us from behind. Her third feature film, Kajillionaire, now on US and UK general release, is an exploration of loneliness and love that feels especially prescient now. Miranda and Lilah discuss what it’s like to release a film during a pandemic, how to make art when we don’t know what we’ll want in the future, and how a weirder world has made her film a lot less weird. Plus: FT writer Harriet Fitch-Little joins Lilah to debrief on the interview and discuss why we all stopped going to digital events.The coronavirus pandemic has broken so much open. And that gives us a very unique chance to reimagine. Welcome to the first of a six-part season. From now to the end of 2020, Lilah will be posing the question “what’s possible now?” to different creators and thinkers, to FT Life & Arts journalists, and to you.What do you think is possible now, that seemed impossible before? Email us at culturecall@ft.com. You can message Lilah on Instagram or Twitter @lilahrap, and find the podcast on Twitter @ftculturecall. We love voice notes – so send those, too.Links from the episode: Our Next Gen virtual festival, hosted by the FT’s young editors, is on October 22! Buy tickets here, and use our discount code, NextGen2020Anthem, by Leonard CohenA deep dive on the line, “There is a crack in everything – that’s how the light gets in”Lilah’s piece about living through historyHarriet Fitch-Little’s profile of Miranda JulyFT’s Kajillionaire review by Danny Leigh (paywall)Jenny Odell interviews Miranda JulyBehind the scenes of Jopie, Miranda’s crowdsourced film An excerpt of John Giorno’s memoir, Great Demon Kings @newyorknico on Instagram See acast.com/privacy for privacy and opt-out information.

Episode 382 also includes an E.W. Essay titled "Puppets." We share a piece performed and written by John Giorno titled "Everyone Gets Lighter." We have an E.W. poem called "Existence." Our music this go round is provided by these wonderful artists: Django Reinhardt, Stephane Grapelli, Jean Jacques Perry, Cat Power, the Plastic Ono Band, Gillian Welch, Billie Holiday, Branford Marsalis and Terrence Blanchard. Photo by Rolfe Ross. Commercial Free, Small Batch Radio Crafted atop the West Mountain Range on the outskirts of Scranton Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors... 

Iniciamos aquí una nueva serie de programas, titulada “A la escucha del virus”, en la que intentaremos acompañarles mientras atravesamos esta situación, tan excepcional, generada por la pandemia que actualmente nos afecta a todos. La propuesta consiste, básicamente, en escuchar ciertas obras sonoras desde el novedoso marco -conceptual, pero también existencial- que estas terribles circunstancias representan. Quizás una interpretación renovada de esos trabajos pueda ayudarnos, en alguna medida, a entender mejor los diferentes procesos, de muy distinto orden, que todos estamos llamados a atravesar en estos días extraños. Comenzamos esta serie planteando una exploración radiofónica del concepto de virus, (des)orientados por la poética del escritor estadounidense William S. Burroughs (1914-1917). Además de algunos de sus "cut-ups", escuchamos obras que le fueron dedicadas, como "Rag for William Burroughs", del dúo MATMOS (formado por Martin Schmidt y Drew Daniel), "Language is a virus", de Laurie Anderson y "La muerte de William Burroughs", de John Giorno. En la segunda mitad del programa presentamos otra serie de trabajos -más bien vinculados al dominio de la creación electroacústica- que también pueden ser escuchados a partir de la metáfora vírica. Es el caso de la obra titulada "Living Structures", del compositor sueco Peter Lundén, "Half Life", de Curtis Roads (quien, como Lundén, emplea en sus composiciones técnicas de síntesis granular) o "Mutations", de Jean-Claude Risset. Finalmente escuchamos dos piezas extraídas de una recopilación recientemente coordinada por el murciano Sergio Sánchez dentro de su netlabel República Ibérica Ruidista, que lleva por título "Confinescapes" y que reúne "ideas, sensaciones, y discursos sobre la reclusión". Ofrecemos dos de las piezas incluidas en esta antología: “Pandemia”, una composición firmada por Mary X (uno de los pseudónimos del propio Sergio Sánchez) y "Retroviral Drones", de Erizonte (Julián Sanz). Acompañamos todas estas audiciones de algunas citas textuales extraídas del primer capítulo (titulado "La voz límite como voz vírica") de "La voz límite. Una aproximación estética a la vocalidad teratológica desde el arte sonoro", tesis doctoral de Miguel Álvarez-Fernández (accesible gratuitamente en Internet). Escuchar audio

Continuamos nuestro diálogo con Coral Nieto, investigadora en el parisino Centre for Art and Languages de la École des Hautes Études en Sciences Sociales (CRAL-EHESS), así como en la Escuela de Doctorado de la Universidad de Girona, bajo la dirección de Annick Louis y Carmen Pardo, respectivamente. Su estudio aborda una rama de la poesía sonora francesa contemporánea que manifiesta el devenir sonoro del texto y del lenguaje. Una reflexión desde el sonido, como territorio interno expresivo y campo de investigación, implica una dimensión material de la poesía que defiende la lengua como material poroso que obra y se abre, y que al hacerlo desborda el lenguaje. Esta apertura de la voz se manifiesta mediante una oralidad electroacústica, que intenta superar la noción restrictiva de “poesía sonora” en favor de la phoné -fenómeno sonoro y lingüístico- en su acontecer y no como herencia postvanguardista, refiriéndose así tanto un “objeto sonoro” como a un “objeto de lenguaje”. A lo largo de este doble monográfico de Ars Sonora, Coral Nieto presenta el trabajo de ciertos autores que componen el cuerpo de estudio de su tesis doctoral (Anne-James Chaton, Jean- Michel Espitallier, Jérôme Game, Olivier Cadiot…). Todos ellos forman parte de una misma red literaria surgida en los años ochenta del siglo XX en la escena francesa, configurando un momento “post-poético” y “transgenérico”. Con una voluntad de repensar las categorías y las clasificaciones, así como de liberar al objeto de todo discurso metafísico para estudiarlo en su materialidad misma, se agrupan en torno a nuevas revistas, editoriales y escenas de enunciación. Esta escena dialoga con compositores de la segunda mitad del siglo XX e inicios del XXI, desde la música concreta, acusmática y experimental a la minimalista o el rock progresivo (Pierre Schaeffer, Bernard Heidsieck, Steve Reich, John Giorno, Luc Ferrari, Rodolphe Burger, Alva Noto…). En esta segunda emisión, si bien presentamos unas prácticas contemporáneas no categorizadas propiamente como poesía (sino, más bien, y según cada caso, como ópera, arte radiofónico, performance…), éstas acusan puntos comunes de reflexión: una voluntad por cuestionar las fronteras de lo lírico, por repensar los desafíos de la voz en un desarrollo constante de la lengua y del lenguaje, y por buscar nuevos espacios de enunciación. Analizamos estas posibilidades desde la escucha de trabajos de autores como Violaine Louchu, Laurie Anderson, René Lussier, Pierre Jodlowski... En todos ellos se evidencia un deseo, en ciertas ocasiones frustrado o quebrantado, por ir al encuentro de lo “poli-” como parte de la naturaleza intrínseca de una “voz-relación” (tal y como la define Serge Martin): se trata de “objetos” polirrítmicos, polifónicos y poliperspectivistas. La literatura, cuyo material principal es el lenguaje, se encuentra aquí sometida a un continuo proceso de apertura, reformulación y reapropiación según las necesidades de cada autor y del contexto en el que se despliega su “objeto”. Cada uno se dispone a “fabricar” su propia literatura en función de la relación que éste entreteje con el lenguaje y con la lengua: la exploración del signo lingüístico, en términos sonoros y materiales, pasa por la mutación del grafema en fonema y viceversa. Con un lienzo de escritor, estos autores escriben “música” manteniendo los ritmos literarios y haciendo uso de memoria de la “voix parlée”. Así pues, la forma termina por ser la que afina el sentido una vez que el fondo alcanza la superficie en un proceso constante de transformación y expansión. En este sentido, la voz, mediatizada en términos de amplificación, modulación, desmultiplicación, variación, filtraje, etc., se transforma en materia de composición rica en accidentes, al mismo tiempo que la música, reaccionando y dialogando con la oralidad rítmica y la tonalidad, se convierte en terreno sensible y semántico. La apertura de la voz, y con ella el despliegue de la forma y del sentido, requiere una nueva acción de la escucha que termina por definir la naturaleza misma del poema. Al considerar el lenguaje como un objeto sonoro, es la oreja del auditor/espectador la que se enfrenta al proceso mismo de su constitución, fabricando nuevas significaciones y reescribiendo el objeto. Con todo, la voz, deslizándose en nuevos ambientes sonoros contemporáneos a su época, se convierte en proceso de comunicación e índice de advenimiento de lo real. Escuchar audio

Dialogamos con Coral Nieto, investigadora en el parisino Centre for Art and Languages de la École des Hautes Études en Sciences Sociales (CRAL-EHESS), así como en la Escuela de Doctorado de la Universidad de Girona, bajo la dirección de Annick Louis y Carmen Pardo, respectivamente. Su estudio aborda una rama de la poesía sonora francesa contemporánea que manifiesta el devenir sonoro del texto y del lenguaje. Una reflexión desde el sonido, como territorio interno expresivo y campo de investigación, implica una dimensión material de la poesía que defiende la lengua como material poroso que obra y se abre, y que al hacerlo desborda el lenguaje. Esta apertura de la voz se manifiesta mediante una oralidad electroacústica, que intenta superar la noción restrictiva de “poesía sonora” en favor de la phoné -fenómeno sonoro y lingüístico- en su acontecer y no como herencia postvanguardista, refiriéndose así tanto a un “objeto sonoro” como a un “objeto de lenguaje”. A lo largo de un doble monográfico de Ars Sonora, Coral Nieto presenta el trabajo de varios de los autores que componen el cuerpo de estudio de su tesis doctoral (Anne-James Chaton, Jean-Michel Espitallier, Jérôme Game, Olivier Cadiot…). Todos ellos forman parte de una misma red literaria surgida en los años ochenta del siglo XX en la escena francesa, configurando un momento “post-poético” y “transgenérico”. Con una clara voluntad de repensar las categorías y las clasificaciones, así como de liberar al objeto poético de todo discurso metafísico para estudiarlo en su materialidad misma, estos poetas se agrupan en torno a nuevas revistas, editoriales y escenas de enunciación. Esta escena dialoga con diversos compositores de la segunda mitad del siglo XX e inicios del XXI, desde la música concreta, acusmática y experimental a la minimalista o el rock progresivo (Pierre Schaeffer, Bernard Heidsieck, Steve Reich, John Giorno, Luc Ferrari, Rodolphe Burger, Alva Noto…). En esta primera emisión se presenta la sinergia entre ambos campos de acción desde finales de los años cuarenta del pasado siglo, momento en el que la práctica vocal se fusiona con una investigación eléctrica del sonido en sus cualidades acústicas y sensibles. De esta confluencia surgen diferentes relaciones que conformarán esos “objetos” que se resisten a ser nombrados (Objets Verbaux Non Identifiés). Revisar las diferentes modalidades en las que la poesía y la música se encuentran conduce a un análisis crítico del (no-)lirismo contemporáneo, así como de la suspensión de la representación, puesto que lo expresado no se deja abordar ya como objeto representado. De este modo, el texto se convierte en pretexto sonoro y la voz en material, timbre y cuerpo del sujeto. Escuchar audio

Nam June Paik made art with TV sets and imagined an information superhighway before the internet was invented. John Giorno organised multi-media and dial-a-poem events. Poet and New Generation Thinker Sarah Jackson joins Matthew Sweet to look at the visions of the future conjured up by these artists who were both interested in the influence of mass media and Buddhism. She's joined by artist Haroon Mirza and Tate curator Achim Borchardt-Hume. We dial a poet Vahni Capildeo and hear from Vytautus Landbergis, former Lithuanian Head of State and former comrade of Nam June Paik as a Fluxus artist. John Giorno (December 4, 1936 – October 11, 2019) Nam June Paik (20 July 1932, Gyeongseong - Died: 29 January 2006) Tate Modern's exhibition of Nam June Paik's art runs until 9 February 2020. Haroon Mirza's work is on show in an exhibition called Waves and Forms at the John Hansard Gallery in Southampton until January 11th 2020. Vahni Capildeo's most recent collection is called Skin Can Hold. Sarah Jackson's poety collection is called Pelt. You can hear Sarah Jackson exploring the human voice in a short feature if you look up this programme called New Generation Thinkers: Edmund Richardson and Sarah Jackson https://www.bbc.co.uk/programmes/p05pspzx and Sarah Jackson delivers a short talk about the history of the telephone in a programme called The Essay Telephone Terrors https://www.bbc.co.uk/programmes/b07wrlf4 Or you might be interested in Matthew Sweet's Free Thinking discussion about future visions and technology in the TV series Quatermass https://www.bbc.co.uk/programmes/m000b03y or our Free Thinking the Future collection of programmes https://www.bbc.co.uk/programmes/p03zwn4d Producer: Caitlin Benedict

Robert & Russell meet music icon Michael Stipe, best known as lead singer of R.E.M. We discuss his lifelong love of taking photographs (more than 37,000 so far), his childhood Nikon camera (a gift from his father), self-portraits, making sculptures, his friendship with Patti Smith, meeting members of the Beat Generation such as Allen Ginsberg & William Burroughs and why he dislikes his own handwriting. We explore his recent collaboration with Sam Taylor-Johnson on the video for his new solo single ‘Your Capricious Soul’ (which is also raising funds for charity Extinction Rebellion), his admiration for artist/poet John Giorno, British poet Edith Sitwell, photographers Robert Mapplethorpe and Wolfgang Tillmans, sculptors Bernini and Brancusi, meeting Andy Warhol (and buying one of Warhol’s Polaroid cameras), a moving story related to the play Angels in America, why German artist Hans Haacke is one of his greatest heroes and the last impact of his early Athens relationship with artist Jeremy Ayres.Michael’s new book of photography ‘Our Interference Times: A Visual Record’ is available now. We also recommend his earlier book ‘Volume 1’ (both published by Damiani, 2019 & 2018). His first solo single ‘Your Capricious Soul’ can be downloaded as a bundle with video and artwork exclusively from MichaelStipe.com and you can follow his former band (and the 25th anniversary of their album Monster) on Instagram @rem See acast.com/privacy for privacy and opt-out information.

John Giorno died last week, at age 82, at his home in Lower Manhattan, were he was living with his partner Ugo Rondinone. Poet and performer — a strong and suffering voice belonging to New York’s avant-garde milieu — in 1965 has founded the not-for-profit record label and organisation Giorno Poetry Systems with the aim of connecting poetry and related art forms to a larger audience using innovative ideas, audiovisual materials and experimental recording techniques. GPS released albums regularly until the late 1980s featuring recordings by artists such as Laurie Anderson and Philip Glass as well as unique performances by Frank Zappa, Diamanda Galás, Allen Ginsberg, John Cage, Brion Gysin, Giorno himself and William S. Burroughs. The episode features: John Giorno, Rose Lesniak, Anne Waldman, Cabaret Voltaire, Lydia Lunch and Clint Ruin, Richard Hell, John Cage, Laurie Anderson, Brion Gysin with Ramuntcho Matta and Psychic TV.

Episode 437: October 13, 2019 (John Giorno special) playlist: John Giorno, "The Death of William Burroughs" (Erratum #3) 1999 Erratum Cabaret Voltaire, "Dead Man's Shoes" (A Diamond Hidden in the Mouth of a Corpse) 1985 Giorno Poetry Systems Anne Waldman, "Fast Speaking Woman" (The Dial-A-Poem Poets: Disconnected) 1973 Giorno Poetry Systems PMS (Pre Metal Syndrome), "Living On The Outside (Fucked Up World)" (Like A Girl, I Want You to Keep Coming) 1989 Giorno Poetry Systems William S. Burroughs, "From Here To Eternity (Exterminator)" (William S. Burroughs / John Giorno: A D'arc Press Selection) 1974 Giorno Poetry Systems Laurie Anderson, "Closed Circuits" (You're the Guy I Want to Share My Money With) 1981 Giorno Poetry Systems Frank Zappa, "The Talking Asshole" (The Nova Convention) 1978 Giorno Poetry Systems John Giorno, "Exiled in Domestic Life" (Better An Old Demon Than A New God) 1984 Giorno Poetry Systems Jim Carroll, "Just Visiting" (Life is a Killer) 1982 Giorno Poetry Systems Philip Glass, "A Secret Solo" (Big Ego) 1977 Giorno Poetry Systems John Giorno, "Dakini Software" (Dakini Software) 1972 John Giorno / Coil, "Sleep / Sleeper" (unreleased) Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Radiostück von Gaby Hartl und Zeitblom | Vor einigen Jahren fand John Giorno die verschollen geglaubten Tapes seiner "Soundpoems" wieder, in denen sich Stimmexperiment mit politischer Zeitzeugenschaft aus den 1960er-Jahren vereint. Das Hörspiel transferiert sie in die Beats einer Klangwelt unserer heutigen Zeit. | Mit: Martin Engler, Gaby Hartel, Ela Spalding, Sabin Tambrea und John Giorno | Komposition: zeitblom | Regie: Gaby Hartel und zeitblom | (Produktion: DLF / SWR 2019; gefördert von der Film- und Medienstiftung NRW)

Recently — and by chance — we purchased two american compilations on vinyl, one entitled ‘10+2: 12 American Text Sound Pieces’ (1975) and the other ‘New Music for Electronic and Recorded Media: Women In Electronic Music’ (1977). While the first record is focused on american sound poetry, the second one is a careful introduction to the heroines of mid Seventies electronic music milieu. After this coincidental buy we discovered that both records were published by 1750 Arch Records, an American avant-garde music label, founded in the sixties in the homonymous recording / archival studio located at 1750 Arch Street, Berkeley, California. The episode features: Aram Saroyan, Laurie Spiegel, Beth Anderson, Ruth Anderson, John Giorno, Megan Roberts, Clark Coolidge, Pauline Oliveros, John Cage, Johanna M. Beyer, Anthony Gnazzo, Laurie Anderson, Charles Dodge, Annea Lockwood and Charles Amirkhanian.

This episode, compiled by our studio, is a portrait of the incredibly effervescent musical and artistic scene in New York in the 1970’s. From repetitive patterns to concrete poetry, you can spend one hour in good company, together with John Giorno, Charlemagne Palestine, Meredith Monk, Philip Glass, Lawrence Weiner with Peter Gordon, Terry Riley, Joe Jones and Yoshi Wada.

Change has arrived and it's time that the art world increases its influence, inspiration, and power. We’re entering a very interesting time in the arts, when increasing numbers of artists will use their talents to push back against a growing climate of racism, inequality, and social conservatism. As Ted Wells says: "Jump off the BLANDwagon."  Dark times can make life beautiful. With the arts, our lives can be transitional during a time full of powerful artistic commentary and vivid artistic and social expression.  Some artists protest the present while shaping and reinventing the future; others artists help us escape our current reality or remind us that beauty and novelty still exist in the world, regardless of how bad we’re currently feeling about it. During the 1960s, artists created work that protested injustice and inspired the counterculture to battle the conservative backlash. And others made art that was so beautiful that it soothed shattered nerves and lifted average people out of the shadows. That was what the world needed then, and it’s what the world needs now. And I feel that’s exactly what is coming in the next few years. The creation of art, by any of us, can be a way of expressing our feelings within a realm of freedom that we might not be experiencing in our job, or among our community, or within our family. In some ways, it can a be way of emerging some part of our soul that would otherwise be trapped because of the way artistic expression can be squelched by society. Be raw, rougher … more honest and expressive … and way more real. Andy Warhol, Green Day, Revolution Radio, Billie Joe Armstrong, Bob Dylan, Rolling Stone Magazine, Dion, Jefferson Airplane, Sly and and Family Stone, Creedence Clearwater Revival, Emory Douglas, Black Panthers, Broadway, Barry Goldwater, Donald Trump, Martin Later King Jr., Robert Kennedy, JFK, John F. Kennedy, Richard Nixon, George Wallace, Vietnam War, Abraham Lincoln, Walt Whitman, Man Ray, Edward Steichen, Lee Miller, Stuart Davis, Jospeh Cornell, Lucien Carr, William S. Burroughs, Allen Ginsberg, John Giorno, Laurie Andersen, Andrea Fraser, Gus Van Sant, Ted Wells  

Programme de GAELLE THEVAL & ANNE-CHRISTINE ROYERE pour webSYNradio : DES CHEMINS PARALLELES N'EXCLUENT PAS FLIRTS, TENDRESSES , VIOLENCES, PASSIONS - POESIE SONORE ET MUSIQUE ELECTRO ACOUSTIQUE. Avec les sons de Edgar Varèse, Bernard Heidsieck, Stockhausen, ArThur Petronio, Henri Chopin, Alvin Lucier, François Dufrêne, Michèle Métail, Pierre Henry, Pierre Schaeffer, Luc Ferrari, Steve Reich, John Giorno, Gil J. Wolman, Michèle Métail et Louis Roquin, Jacques Sivan et Cédric Pigot, Anne-James Chaton, Andy Moor & Alva Noto.

Fred Frith en concert à la Fondation Cartier (2008).

Épisode 10. Le poète John Giorno fait la connaissance d'un jeune stagiaire. John Giorno donna une lecture aux Soirées Nomades le 22 avril 1999. Antoine Jolycœur, alors stagiaire (voir documents épisode n°7), est en charge de la régie technique de la soirée. Le jeune homme profite de cette rencontre pour demander au poète quatre « poèmes visuels ». Ces derniers, initialement destinés à la publication dans une revue, sont restés dans les archives de la Fondation Cartier et montrés ici pour la première fois.

Programme de HEIKE FIEDLER pour webSYNradio : avec des sons, des mots et l'engagement de Anna Akhmatova, Joan La Barbara, Olga Rozanova, Franz Mon + Tera de Marez Oyens, Heike Fiedler + Marie Schwab + Steve Buchanan, Sainkho Namchylak, Dorothea Schurch + Thomas Lehn, Beth Anderson, Zuzana Husarova, Vincent Barras + Jacques Demierre, Jaap Blonk, Ernst Jandl, Kathy Acker, John Giorno, Jorg Piringer, Henri Chopin, Gherasim Luca, Anne Pitteloud + Sylvain Thévoz + Dominique Ziegler+ Heike Fiedler + Philippe Rahmy + Miruna Coca-Cozma + Manuel Tornare, IMO insub meta orchestra, Pete Ehrnrooth

Mit Werner Härtel, John Giorno / Manuskript und Regie: Karl Bruckmaier / BR 2012 / Länge: 60'41 // Mehr als ein halbes Jahrhundert hinkte die Dichtkunst hinter der Bildenden Kunst her, konstatierte einst John Giorno, und nahm die Aufholjagd selbst in die Hand. //

Bob Holman Sing This One Back to Me: The Spoken Word Bob Holman studied poetry at Columbia University in the 1970s (where he now teaches), but considers his “major poetry schooling” to be his time on the Lower East Side in New York with Allen Ginsberg, John Giorno, Anne Waldman, Miguel Piñero, Hettie Jones, Ed Sanders, Amiri Baraka, Ted Berrigan, Alice Notley, Pedro Pietri, David Henderson, Steve Cannon, and many others. Join Michael Lerner in a conversation about Bob Holman’s life, history with the Beat Poets, his activism, and the oral tradition of spoken word or “slam” poetry. Bob Holman As a promoter of poetry in many media, Bob has spent the last four decades working variously as an author, editor, publisher, performer, emcee of live events, director of theatrical productions, producer of films and television programs, record label executive, university professor, poet’s house proprietor, and archivist. Bob is the founder and proprietor of the Bowery Poetry Club in New York City, which opened to the public in September 2002. Holman’s most recent work has been devoted to bringing attention to Endangered Languages — he is the host of Language Matters!, a PBS documentary shot in Wales, Hawaii, and Australia, that airs in late 2013. His most recent collection, Sing This One Back to Me, was released by Coffee House Press in May 2013. Find out more about Bob on his website. Find out more about The New School at tns.commonweal.org.

Programme de JULIE ROUSSE pour webSYNradio : Playlist Of Women, Dreams and Poetry avec Delia Derbyshire, Robert Filiou, David Shrigley, Tod Dockstader, John Giorno, La Monte Young, Robert Ashley, Adolfo Kaplan, Patti Smith,Terry Riley, Ezra Pound, Charlotte Moorman, William Burroughs

Playliste de Christophe Manon pour webSYNradio : Jours redoutables avec Pierre Albert-Birot, Antonin Artaud, John Ashbery, Charles Bernstein, Jean-Louis Brau, Camille Bryen, William S. Burroughs, John Cage, Augusto de Campos, Louis-Ferdinand Céline, Henri Chopin, Robert Creeley, François Dufrêne, John Giorno, Pierre Guyotat, Raoul Hausmann, Ernst Jandl, Joachim …,...

Playliste de Rudy Ricciotti pour webSYNradio et texte inedit Sur le Son. Avec Julien Blaine, Laurie Anderson, Martin Kippenberger, Antonin Artaud, Hugo Ball, Chris Burden, Giacomo Balla, Whitehouse, John Giorno …

WARNING!!!! VERY VERY VERY ( did I say Very? ) EXPLICIT CONTENT!!! Postpunk was more than just music--it was an attitude, it was performance art, it was TV ( dig The Young Ones ), it was Comedy ( Alexi Sayle,ABFAB,etc), it was poetry, it was books, film -- every media and method. This is all before the concept of Politically Correct reared its ugly head--beck then, people of an artistic persuasion were not afraid to tell it like it was, or should be, or could be, --or wasn't for many on the outside of the prosperous 80's. The ME decade it may have been, but it led to all the various social devolution of the 90's until today . Here we have scathing castigation from Quentin Crisp, Attilla the Stockbroker, Lydia Lunch, Wm. Burroughs, John Giorno, Laurie Anderson, ( and more ), and a mystery artist who can win you a free T-shirt if you guess who it is--anyone game?

http://headxones.podomatic.com/ Starring JOHN GIORNO with Excerpt from Shit, Piss, Blood, Pus + Brains (1976) parallel play collision collage featurette with cameo and supporting roles from the following: Artists - selection extractions (somewhat in order of appearance) John J.H. Phillips - Elegy Mantra - Vibes Alive J Dippold - .microsound 7econds project - Decorous Cognomen DXM - The Self Dreams . . . Terre Thaemlitz - Handsome / Ballad For George Michael Terre Thaemiltz - S. 42 Undetermined Commercial Radio DJ personality Student voice from Splendid Speaking Brian Jonestown Massacre - Hide and Seek Brian Jonestown Massacre - Deep In Sleep - Evil Gypsy Mr. Scruff - The Creator Has A Master Plan (Mr. Scruff Remix II) - Bobby Matos Sunn O))) - Black Wedding rolline@videotron.ca / Mention Obligatoire : Photo Rolline Laporie 7 07 source page

The John Giorno Poetry Systems