Podcast appearances and mentions of Kenneth Goldsmith

The miracle is not that we do this work, but that we are happy to do it.” ―Mother Teresa “Never give up on a dream just because of the time it will take to accomplish it. The time will pass anyway.” ―Earl Nightingale “If you work on something a little bit every day, you end up with something that is massive.” ―Kenneth Goldsmith stay focus and remain positive!!!

We discussed: Curating a bienniale art festival, government funded arts, how they select artists, how they chose the venues, ecological concerns of Art events, installing Art in a prison   https://www.ffur.eu Lofoten International Art festival - https://info.liaf.no     People + Places mentioned: Alighiero Boetti - https://gagosian.com/artists/alighiero-e-boetti/ Chiara Fumai - https://www.chiarafumai.com Skam - https://www.imdb.com/title/tt5288312/ Kenneth Goldsmith - https://ubu.com     Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

We discussed: Curating a bienniale art festival, government funded arts, how they select artists, how they chose the venues, ecological concerns of Art events, installing Art in a prison   https://www.ffur.eu Lofoten International Art festival - https://info.liaf.no     People + Places mentioned: Alighiero Boetti - https://gagosian.com/artists/alighiero-e-boetti/ Chiara Fumai - https://www.chiarafumai.com Skam - https://www.imdb.com/title/tt5288312/ Kenneth Goldsmith - https://ubu.com     Music by Peat Biby     Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway – https://eeagrants.org               And we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no  

Kenneth Goldsmith is an American poet. His writing has been called some of the most exhaustive and beautiful collage work yet produced in poetry by Publishers Weekly. He is the founding editor of UbuWeb, and is a senior editor of PennSound at the University of Pennsylvania, where he teaches. He hosted a weekly radio show at WFMU from 1995 until june 2010. He has published many books of poetry, notably Fidget, Soliloquy, Day, and his American trilogy. He is the editor of I'll Be Your Mirror, the selected Andy Warhol interviews, which is the basis for an opera, Trans-Warhol, that premiered in Geneva in 2007. He has published three books of essays, including Against Expression, Uncreative Writing, Wasting Time on the Internet, and most recently, Duchamp is my Lawyer. In 2013, he was appointed the first Poet Laureat of the Museum of Modern Art.LINKSUbuWebKenneth Goldsmith faculty page at the University of PennsylvaniaSUPPORT THIS PODCASTPatreonDonorboxORDER SAMUEL ANDREYEV'S NEWEST RELEASEIridescent NotationLINKSYouTube channelOfficial WebsiteTwitterInstagramEdition Impronta, publisher of Samuel Andreyev's scoresEPISODE CREDITSPost production: Marek IwaszkiewiczPodcast artwork photograph © 2019 Philippe StirnweissSupport the show (http://www.patreon.com/samuelandreyev)

(00:00:00) Es ist eine Art Youtube für Kunstbegeisterte: das Ubuweb. Videos, Audios und Texte von 7500 Künstlern finden sich auf dieser Webseite, kuratiert und kostenfrei. 1996 wurde es vom Konzeptkünstler Kenneth Goldsmith gegründet und dieses Jahr feiert es sein 25-jähriges Jubiläum. Weitere Themen: (00:05:30) Birgit Vanderbeke: Die deutsche Autorin und Ingeborg Bachmann-Preisträgerin ist im Alter von 65 Jahren gestorben. (00:10:13) Schreiben als Gespräch: Levin Westermann philosophiert im Langgedicht «farbe komma dunkel» über Klimawandel, Artensterben und die Rolle des Einzelnen. (00:14:50) Musicalfilm «Annette» von Leos Carax: düstere Liebeskomödie mit Musik der Art-Popband «Sparks».

In this episode Tish and Adam talk to the poet Richard Hamilton about his new book, Rest of Us (Recenter Press, 2021). Richard Hamilton shares a number of his poems. We also discuss, among other things, the relationship of the social and the subjective, absurdist aesthetic strategies, the afterlife of slavery, remixing time, the “MFA industry” and the Kenneth Goldsmith controversy, what it means to write or make art for the working-class and oppressed, the relationship of visual art to poetry, and the discordant will of the revolutionary subject. Poems read and discussed include Hamilton's “Alabama Inmate Notes,” “Revolting Shadows,” “Black and White (Ode to the Haitian Revolution),” “In Four,” “Palimpsest: Black Out” and “White Narratives.” We also touch on AfroSurrealism, Amiri Baraka's “The Politics of Rich Painters” (1963), Federico Garcia Lorca's “Sleepwalking Ballad,” Aimé Césaire's Discourses on Colonialism (1950), and the work of the artists Ronald Williams and Emory Douglas, among more. Locust Radio is hosted by Tish Turl and Adam Turl. Locust Radio is produced by Drew Franzblau. Music is by Omnia Sol.

El día que Piglia se afanó un auto; Kenneth Goldsmith y el robo reglamentario; La banda de Benjamin: robos intelectuales en Ciudadela; Antigua Radio Egipto: el primer plagio de la Historia; Arriba las manos, esto es un ensayo; Proudhon, Pessoa y los devaneos del Dr. Aguas.

Ricardo Piglia, el escritor que afanaba autos; Kenneth Goldsmith y el robo reglamentario; La banda de Benjamin: robos intelectuales en Ciudadela; Antigua Radio Egipto: el primer plagio de la Historia; Arriba las manos, esto es un ensayo; Proudhon, Pessoa y los devaneos del Dr. Aguas

Si una noche de invierno "un robo" Fecha: 01-04-2021 Buscá el episodio completo en el podcast de El Destape Radio.

In the second part of our show, available to SUBSCRIBERS ONLY, Mike and Leslie join us to talk about how utterly feeble most conceptual poetry and art are, and contrast it with their own vital experiences in Corpus Christi’s underground music and arts scenes. We ponder how the pandemic relief packages may have provided some breathing room for the working class to rediscover its creativity. And finally, we ramble on for a while about our own work, and we hear some more poetry from Leslie. If you want to hear more than just the preview of this episode, then you’ll need to subscribe. Do so here: https://www.patreon.com/locustreview/posts Locust Radio is produced by Drew Franzblau. It is hosted by Alexander Billet, Tish Markley and Adam Turl. Music is by Omnia Sol.

Gill Partington and Thomas Jones explore Kenneth Goldsmith’s online avant-garde archive, UbuWeb, listen to some of the things you can find on it, and consider what might not be found there.Find Gill's piece and more relevant LRB pieces here: https://lrb.me/ubuwebpodSubscribe to the LRB from just £1 per issue: https://mylrb.co.uk/podcast20b See acast.com/privacy for privacy and opt-out information.

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America's history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn't it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America’s history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn’t it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

In White Negroes: When Cornrows Were in Vogue ... and Other Thoughts on Cultural Appropriation (Beacon, 2019), Lauren Michele Jackson analyzes Christina Aguilera, high fashion, the conceptual poetry of Kenneth Goldsmith, digital blackface, and the dearly departed video platform Vine. She demonstrates that cultural appropriation (especially of Black culture by white artists) is prevalent and deeply rooted in America's history of inequality. Beyond that, though, she explores why white artists feel drawn to appropriate Blackness: what does appropriated Blackness give to white artists? Status? Sex appeal? Avant-garde credibility? Funding? And why doesn't it give those same things to Black artists? White Negroes is a timely and engrossing (and funny) work of cultural criticism from a major new critical voice. Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at andyjamesboyd@gmail.com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Being in a quartet is like being in a marriage, says Milena Pajaro-van de Stadt, violist and founding member of the world renowned award-winning Dover Quartet & our guest for Episode 5 of the So This Is My Why Podcast. Holding dual citizenship in the US and the Netherlands, Milena considers herself to have grown up “a little bit of everywhere” including in Oxford (UK), Baltimore and Jacksonville. Her father taught her the piano before, feeling fed up with the instrument, she chose the violin as her next musical endeavour. An instrument she picked up after hearing a musician busk on the streets of Oxford. At the age of 10 years old, having moved back to Jacksonville by then, she picked up the trombone and also (eagerly!) volunteered to play the viola when her younger brother wanted to form a quartet. We explore all that including a pivotal moment in the summer of 2005, where she met and learned from Michael Klotz, violist of Amernet Quartet & her first viola teacher, at the Bowdoin International Music Festival. A meeting that resulted in her “ sudden immersion in the viola world ”. *Curtis Institute of Music* We also discuss the considerations she had in place when applying for music schools and how she dropped all other applications the moment she got into her dream school - the Curtis Institute of Music! There, she studied with the likes of Michael Tree (of the Guarneri Quartet) & Roberto Diaz (President & CEO of the Curtis Institute of Music). It was also at Curtis that the members of what would be the Dover Quartet came together - not unlike the tentative start of a budding relationship! They bonded so well, one of their teachers, Shmuel Ashkenasi (Vermeer Quartet) asked them, “Have you considered getting married (to each other)?” because you're always together. To which Milena said: We could not have been more giddy than when he said that to us because we had looked up to him so much and he notoriously is one of the most demanding coaches we've ever had. And so to get that kind of encouragement from someone we looked up to… I think that definitely had a huge thing to do with our morale and decision to be kind of brave enough to commit to one another. From there, they decided to show “commitment” to each other by attending the graduate residency program at Rice University's Shepherd School of Music as a quartet. *Realities of Life As a String Quartet Member* The life of a string quartet member is so very unique & some of the things we explore include: * What is your schedule like as a string quartet? How often are you on the road? * What was it like participating in competitions (e.g. Fischoff Competition) and in particular, your memories of those incredible wins at the Banff Competition 2013 which launched the Dover Quartet into the spotlight? * Importance of competitions to the careers of string quartets * Ways of dealing with disagreements between quartet members, particularly in musical interpretations of pieces * Managing personal space while on the road; * Staying in touch with loved ones while on the road * Collaborations with other musicians & how that comes about * Giving live performances versus making studio recordings; * The role of social media & the power of collaborations - e.g. with Avi Avital, Edgar Meyer, Ray Chen, Roomful of Teeth & the Brooklyn Duo; * The Importance of public speaking as a means of connecting with the audience; * Dealing with concert reviews * Giving back to the community through Music For Food ( https://musicforfood.net/index.php/artist/dover-quartet/ ) ; and * “Balancing” a solo career with being in a quartet. *String Instruments* As the instrument itself is so important to a musician, we talk about: * The two violas she plays on & their different purposes * Modern v old instruments - which is better? Does it even matter? * How do you choose your violin? * Are violins with an unknown maker a good investment? * Impact of COVID-19 on her personal life & the life of the Dover Quartet *Role of Parents in a Child's Education* For parents with young kids or those thinking of pursuing music, we also deal with questions on: * Should all children be exposed to music / have music lessons? * How should parents handle children who don't want to practice, especially if they want to just quit after trying it for a short while? * At what age should a child learn a musical instrument? * What should people looking to pursue music think about & do? *Show notes:* https://www.sothisismywhy.com/5/ ** *Official Bio of the Dover Quartet* The phenomenal Dover Quartet catapulted to international stardom following a stunning sweep of the 2013 Banff Competition, at which they won every prize. Named the Cleveland Quartet Award-winner, and honored with the coveted Avery Fisher Career Grant, the Dover has become one of the most in-demand ensembles in the world. The Quartet's rise from up-and-coming young ensemble to occupying a spot at the top of their field has been “practically meteoric” ( Strings ). With its burnished warmth, incisive rhythms, and natural phrasing, the Quartet's distinctive sound has helped confirm its status as “the young American string quartet of the moment” ( New Yorker ). The Quartet serves as the quartet-in-residence for the Bienen School of Music at Northwestern University, Chamber Music Northwest, Artosphere, the Amelia Island Chamber Music Festival, and Peoples' Symphony in New York, and was recently named the first-ever quartet-in-residence for the Kennedy Center. In 2018-19 the Dover Quartet performs more than a hundred concerts around North America, including performances at the Kennedy Center, San Francisco Performances, the Philadelphia Chamber Music Society, Spivey Hall, Boston's Celebrity Series, the Chamber Music Society of Detroit, and Carnegie Hall. In addition, the Dover's season features tours of Hong Kong, Europe, and Australia, collaborations with Emanuel Ax, Inon Barnatan, Peter Serkin, Anthony McGill, and Roomful of Teeth, and premieres of new works by Caroline Shaw and Matan Porat. The Quartet was thrilled to be invited by the maverick filmmaker and cultural icon David Lynch to be featured at his Los Angeles Festival of Disruption. Cedille Records released the Quartet's sophomore album, entitled Voices of Defiance: 1943, 1944, 1945 in October 2017. The recording takes listeners on a powerful journey through works written during World War II by Viktor Ullmann, Dimitri Shostakovich, and Simon Laks. The 2016-17 season saw the release of its all-Mozart debut recording on the Cedille label, a nod to the 1965 debut album of the Guarneri Quartet, whose founding violist, the late Michael Tree, joined the Dover Quartet on the recording. In addition, the group has participated in three complete Beethoven quartet cycles, including the University at Buffalo's famous “Slee Cycle” – which has presented annual Beethoven quartet cycles since 1955 and has featured the likes of the Budapest, Guarneri, and Cleveland Quartets – and will record the cycle over the next three seasons. The group's world-class collaborators have included pianists Anne-Marie McDermott, Emanuel Ax, Marc-André Hamelin, Jean-Yves Thibaudet, Peter Serkin, and Jon Kimura Parker; violists Roberto Díaz and Cynthia Phelps; bassist Edgar Meyer; and the Pacifica and Escher Quartets. In the spring of 2016, the Dover Quartet was recognized with the Hunt Family Award, one of the inaugural Lincoln Center Emerging Artist Awards, and in past years has taken top prizes at the Fischoff Competition and the Wigmore Hall International String Quartet Competition. All four Quartet members are consummate solo artists: first violinist Joel Link took first prize at the Menuhin Competition; violinist Bryan Lee and violist Milena Pajaro-van de Stadt have appeared as soloists with the Philadelphia Orchestra and Tokyo Philharmonic, respectively; and cellist Camden Shaw released a solo album debut on the Unipheye Music label. As Strad observes, “With their exceptional interpretative maturity, tonal refinement, and taut ensemble,” the Dover Quartet is “pulling away from their peers.” Hailed as “the next Guarneri Quartet” ( Chicago Tribune ), the Dover Quartet draws from the lineage of that distinguished ensemble, as well that of the Cleveland and Vermeer Quartets; its members studied at the Curtis Institute of Music and Rice University's Shepherd School of Music, where they were mentored extensively by Shmuel Ashkenasi, James Dunham, Norman Fischer, Kenneth Goldsmith, Joseph Silverstein, Arnold Steinhardt, Michael Tree, and Peter Wiley. It was at Curtis that the Quartet first formed, and its name pays tribute to Dover Beach by fellow Curtis alumnus Samuel Barber. The group has since returned for residencies to Rice in 2011-13, and to Curtis, where it became the conservatory's first Quartet-in-Residence, in 2013-14. In addition, in 2015 the Dover was appointed the first Resident Ensemble of Peoples' Symphony Concerts in the 116-year history of New York City's oldest concert series. The Dover Quartet is dedicated to sharing its music with under-served communities and is actively involved with Music for Food, an initiative enabling musicians to raise resources and awareness in the fight against hunger. The Dover Quartet plays on the following instruments: *Joel Link* : Jean-Baptiste Vuillaume, Paris circa 1857, on loan by Desirée Ruhstrat *Bryan Lee* : Riccardo Antoniazzi, Milan 1904 *Milena Pajaro-van de Stadt* : Michele Deconet, Venice, 1780, the ‘Kroyt,' generously on loan from the grandson of Boris Kroyt of the Budapest Quartet *Camden Shaw:* Frank Ravatin, France, 2010

‘Het is wat het was’ is een podcast die draait rond cultuurhistorische verhalen, anekdotes en feitjes die proberen verklaren waarom dingen vandaag zo zijn en misschien ook wel waren. Zara Callebaut kan je volgen op Instagram via @zaracallebaut Facts en checks: # Zara’s dagboeken vind je op De Standaard, onder andere hier https://bit.ly/3d2XxiQ # Historiek.net heeft een biografie over Margaretha van Oostenrijk https://bit.ly/36q3i7A # Als historici of andere manswetenschappers het hebben over Agency dan verwijst dat naar de Agency theory; dit wil zeggen de mate waarin een mens in staat is om zelfstandig te kunnen handelen. # Voorbeeld van een Amarnabrief: https://bit.ly/2zYNH2O # De rijkste persoon in de hele geschiedenis is Mansa Musa I van Mali. https://www.bbc.com/news/world-africa-47379458 # Je kan zoeken in Hillary Clinton’s emails op de site van Wikileaks https://bit.ly/2A7rkYL Zoeken op de term ‘coffee’ levert je al een 150-tal resultaten op. # Julian Assange kan zowel op de Amerikaanse (Claires uitspraak) als op de Britse manier (Maaikes uitspraak) uitgesproken worden. # Het kunstwerk van Kenneth Goldsmith dat Claire bezocht op de Biënnale https://bit.ly/3cY5qWH # Meer informatie over de opstelling van Kenneth Goldsmith in Venetië https://bit.ly/3ecYKEh # Bovendien heeft Clinton de expositie bezocht https://bit.ly/3cW2zNL # Axe heeft wel degelijk een variant voor vrouwen namelijk ‘Anarchy for her’, een sprankelende en fruitige geur van appel, bramen, sandelhout en vanille bodyspray. https://bit.ly/3e6Y9Uo # Het boek ‘Geschreven geschiedenis’ is van de hand van Simon Sebag Montefiore. Literatuur voor de cultuurgeschiedenisliefhebber die wil ontspannen. # Toch gevonden: Mezhlauks karikatuur van fijne executiemanieren https://bit.ly/2zrdikK # Michiels videokanaal heet ‘Michael Figured’ op YouTube. # De reeks die Marc aanraadt op Netflix heet ‘Have a Good Trip’.

Hvorfor forsøge at skrive noget originalt, når alt alligevel er sagt og skrevet? Den provokerende amerikanske poet Kenneth Goldsmith spilder ikke tiden med at tilføje verden mere tekst. I stedet bearbejder han det, der allerede findes. Faktisk mener han, at plagiat er den nye litteraturs fremmeste disciplin. Lyt med og vær klar til at deltage i nogle højst ukreative skriveøvelser. Værter: Pernille Nielsen og Jacob Ulrich

En la emisión Nº06 de #DemasiadoHumano 2020 hablamos de #LoActual Preguntamos ¿Qué cosas hoy vigentes dejaron de ser actuales? En la sección literaria hablamos de “Nadie es más de aquí que tú” de Miranda July @megustaleerarg y “Escritura no creativa” de Kenneth Goldsmith @cajanegraedit Sumamos las reflexiones de las periodistas; @juliamengo @mademetorrejon y @gabriela_borrelli, y la docente e investigadoa @inca.gram

En la emisión Nº06 de #DemasiadoHumano 2020 hablamos de #LoActual Preguntamos ¿Qué cosas hoy vigentes dejaron de ser actuales? En la sección literaria hablamos de “Nadie es más de aquí que tú” de Miranda July @megustaleerarg y “Escritura no creativa” de Kenneth Goldsmith @cajanegraedit Sumamos las reflexiones de las periodistas; @juliamengo @mademetorrejon y @gabriela_borrelli, y la docente e investigadoa @inca.gram

I dette program dykker vi ned i artiklen 'Romankunsten i populismens tidsalder', der blev trykt i sidste forårs bogtillæg. Artiklen er en samtale mellem den danske forfatter Mikkel Rosengaard og den amerikanske digter Kenneth Goldsmith, hvor de diskuterer romanen og kunstens rolle i en tid præget af populisme, forbrugerisme og flygtig opmærksomhed. Mikkel Rosengaard kom forbi Danmark i december sidste år, og det udnyttede vi til at inviterede ham i studiet til en uddybende snak om artiklen. Vi inviterede også ekstern lektor ved institut for kunst og kulturvidenskab på Københavns Universitet Nicklas Freisleben Lund. Sammen med vært Josefine Maria Hansen diskuterer de fortællingens potentiale og begrænsninger, kunstens strategier til at være relevant, om litteratur skal engagere og om populismen har potentiale i en litterær sammenhæng. B.la. I redaktionen: Josefine Maria Hansen, Astrid Rifbjerg og Nana Kofoed Nielsen. Produktion: Josefine Maria Hansen. Musik: Sanne Dalgaard Møller.

I'm so excited to start 2019 with a wonderful guest, violinist Chloe Trevor! Chloe and I discuss practicing and performing from several perspectives.  We talk about dealing with injuries, practicing mindfully, how making practice videos can really help us progress faster, how to prepare for performances, and many other things! She has many wonderful tips and tricks in store for you, and I know you will enjoy this episode! We elaborate on: Her musical journey, from childhood to professional life Dealing with debilitating injuries and why having open discussions on this topic is important The Chloé Trevor Music Academy What mindful practice is to her Her ideal practice session vs a more realistic one Getting reacquainted with performing comfortably How recording videos and posting them on social media can really help us progress faster (because it's another form of performing and it helps us get more focused) How to practice efficiently Have a plan – know what you want to accomplish   Keep a journal Warm up properly How she finds fun in practicing Performance preparation Why it's important to be a good person/colleague   ALL ABOUT CHLOÉ: Website: http://www.chloetrevor.com/ YouTube: https://www.youtube.com/channel/UCV331I5OiYv6n4W72k1C9fQ Facebook page: https://www.facebook.com/chloetrevorviolin/ Instagram: https://www.instagram.com/chloetrevor_violin/   Chloé Trevor Music Academy: Website: http://www.chloetrevormusicacademy.org/ Facebook page: https://www.facebook.com/chloetrevormusicacademy/ Instagram : https://www.instagram.com/chloetrevor_musicacademy/   Favorite books: The Talent Code: Greatness Isn't Born. It's Grown. Here's How. by Daniel Coyle   Talent is Overrated: What Really Separates World-Class Performers from Everybody Else by Geoff Colvin   Biography Quickly becoming one of the most talked about and sought after musical ambassadors to Generation Z, violinist Chloé Trevor has combined her technical brilliance, spirit for classical music and her passion for mentoring the youth of today to connect with audiences in exciting and innovative ways. Silver medalist of the Ima Hogg Competition, critics have acclaimed Chloé for her “dazzling technique”, “excellent musicianship”, “huge tone”, “poise and professional grace”, and “bold personality unafraid to exult in music and ability”. She has appeared as a soloist with orchestras worldwide, including the Hong Kong Sinfonietta, Latvian Chamber Orchestra, Slovak State Philharmonic, Plano Symphony, and the Knoxville Symphony. She made her New York concerto debut in 2013 and Avery Fisher Hall debut in 2014. Chloé was the Grand Prize winner at the 2006 Lynn Harrell Competition and the 2005 Lennox Competition. She has been a featured soloist with the Dallas Symphony at the Meyerson Symphony Center, and with the Missouri Symphony on tour throughout the state. At age thirteen she appeared on the nationally syndicated radio program From the Top.   More recent performances included Tchaikovsky's Violin Concerto with the Dallas Symphony and Prokofiev's 2nd Concerto both at Sala São Paulo in Brazil and with the Cleveland Institute of Music Orchestra as a result of winning the Cleveland Institute of Music's Concerto Competition. Having recently concluded her first tours of Australia, Singapore, Spain, and Mexico, Chloé's upcoming engagements include multiple recitals in North America and appearances with Filarmonia Xalapa, the Bangor Symphony Orchestra, the Midland Symphony Orchestra, the Boulder Chamber Orchestra, and the El Paso Symphony Orchestra. Dedicated to music education and outreach, Chloé regularly connects with students and teachers through interactive performances, masterclasses, and lectures, both in person and online. With an extensive and ever-growing following via social media, Chloé enjoys spreading her message of positivity and encouragement to hundreds of thousands of people on a daily basis in order to influence present and future generations of classical musicians. Summer 2018 marks the inaugural year of the Chloé Trevor Music Academy, an intensive two-week program for string players and pianists offering one-on-one instruction, chamber music coaching, masterclasses, orchestral training, and career guidance by the world's premier soloists, teachers, and conductors. Chloé was introduced to the violin at age 2 by her mother, Heidi Trevor Itashiki, Dallas Symphony violinist. She later studied with Arkady Fomin, Dallas Symphony violinist and Artistic Director of the New Conservatory of Dallas. Chloé has made numerous appearances on the concert stage with her father, internationally recognized conductor and teacher, Kirk Trevor. She completed her undergraduate degree at the Cleveland Institute of Music studying with David and Linda Cerone, and her graduate degree as a scholarship student at Rice University studying with Kenneth Goldsmith. Chloé plays on a Carlo Landolfi violin made in Italy in 1771 and bows by Etienne Pajeot and Émile-Auguste Ouchard.   If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

Den amerikanska poeten och konstnären Jen Bervin har gjort nya dikter "ovanpå" Shakespeares sonetter. Lars Hermansson läser hennes stympade sonetter och funderar över originalitetens betydelse idag. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Jag knappar in några ord på datorn: Det är naturligt slem på spikhuvudet. Varför skrev jag så? Vad då slem på spikhuvudet? Jag stirrar på orden. Orden stirrar tillbaka med sina svarta pixlar. Var det ens jag som skrev det där? Det kändes som det bara kom. Men varifrån? Från bakhuvudet? Själens dunkla natt? Slem på ett spikhuvud: hade jag inte något slags tanke innan orden kom? Någon idé eller föreställning? Något som orden skulle uttrycka? Eller var det bara tomt och så plötsligt, som en blixt: Det är naturligt slem på spikhuvudet? när alla vara originella var det inte så originellt att vara originell längre Föreställningen om att skapa något nytt har alltid funnits men var länge något som bara gudar kunde. Alla kulturer har en skapelseberättelse som redogör för gudarnas kreativitet. Hur världen uppstod när ingenting blev någonting. De människor som gudarna så småningom skapade kunde bara tillverka sådant som gudarna redan tänkt ut. Det fanns en förlaga, en idé. Den här strukturella hierarkin tycks finnas i de flesta mytologier och skapelseberättelser, självfallet med stora variationer. I västvärlden är den kanske tydligast formulerad, eller i alla fall mest bekant, genom Platons tankar om formerna, det som tidigare kallades idéläran. Det där att till exempel ordet stol är en avbild av den fysiska stolen som in sin tur är en avbild av stolens eviga form, som är av något slags gudomligt ursprung, om än inte skapad av Zeus själv eller någon annan av gudarna på Olympen. Att skapa nytt i världen är vid den här tiden inte människans uppgift. Den orörde röraren kallade Aristoteles den som en gång satte igång hela maskineriet. Med nyplatonism och kristendom flyttade denne förste, orörde rörare eller primus motor allt längre upp i de himmelska sfärerna. Filosofer, vetenskapsmän och konstnärer av alla de slag hade till uppgift att uttolka och förstå den gudomliga planen som var fastslagen en gång för alla. Somliga gjorde det bättre än andra, de blev kallade mästare. Hade en konstnär svårt att själv få syn på den eviga förlagan kunde han åtminstone kopiera mästaren.  Det vi läser är alltså stympade sonetter. Idén om eviga former av gudomligt ursprung och mästare att förhålla sig till fick i västvärlden en kraftig törn i och med upplysningen som ledde fram till guds förmodade död i slutet av 1800-talet. Men den lyckades överleva genom att sätta det skapande geniets originalitet och autenticitet i guds ställe, det hierarkiska förhållandet gällde nu mellan mer eller mindre originella skapande genier, tills det började gå inflation i originalitet när alla vara originella var det inte så originellt att vara originell längre. Originell blev man istället genom att avsäga sig originalitet och skaparkraft, och återigen börja förhålla sig till och bearbeta någon annans material, en mästares kanske eller en simpel hantverkares, som när Marcel Duchamp hittade en pissoar som han lyfte ur dess sammanhang, signerade med pseudonymen R. Mutt och försökte få utställd som konstverk på de Oberoendes Salong i New York 1917. Ett koncept som har visat sig livskraftigt ända in i våra dagar, om än kanske inte särskilt originellt längre. Vad är originellt idag? Är originalitet ens relevant? Frågorna uppstår när jag läser den amerikanska konstnären och poeten Jen Bervins bok "Nät". Bervin skapar nya dikter utifrån ett urval av Shakespeares sonetter eller om man så vill: översättaren Niclas Nilsson skapar nya dikter utifrån Eva Ströms översättning av detta urval sonetter. Shakespeares ord är tryckta i grått, och några få av Bervin och Nilsson utvalda ord ur varje sonett tryckta i svart, så att en ny dikt uppstår ovanpå eller inne i Shakespeares förlaga. En finess i Bervins originaltitel Nets som går förlorad i översättning är att den går att läsa som andra halvan av ordet sonnets. Det vi läser är alltså stympade sonetter. Och det går att tänka på boken i termer av våld och exploatering. Bervin utnyttjar de världskända dikterna för att få uppmärksamhet. Hennes svarta ord syns omedelbart när du slår upp en boksida, Shakespeares ljust grå är knappt synliga, som vore de på väg att blekna bort. Bervins dikter lägger sig på eller över förlagan. Det är också hennes namn som står tryckt på boken. Hon stjäl showen kan man tycka. Å andra sidan finns ju Shakespeares sonetter där att läsa i sin helhet för den som skärper blicken, och Bervins dikter är också så korta, oftast inte längre än sju, åtta ord, att de efter en stunds läsning upplevs som ofullständiga utan förlagan. Det är alltså inte fråga något fadermord här. Bervin vare sig haussar eller baissar sin mer berömda kollega. Hon förhåller sig. På olika sätt i olika dikter. I fallet med Shakespeares kanske mest älskade sonett, nummer 18, vars första rad på engelska lyder Shall I compare thee to a summers day, och i Eva Ströms svenska översättning Ska jag dig likna vid en sommardag är Bervins sex ord långa kommentar, ja kommentar är nog rätt ord här, ganska syrlig. Förlagans kaxiga hymn där författaren prisar sin älskades skönhet, men än mer sin egen hantverksskicklighet, eftersom diktens skönhet till skillnad från kärleksobjektets, är evig, kokar Bervin ned till den lakoniska utsagan: Du är skymd av vissna ögon Jag har alltid tänkt att eventuell originalitet sitter mer i utförandet än i gesten Konceptuell poesi och konst riskerar ibland att hamna i ett osunt maktförhållande till sin förlaga. Shakespeares sonetter kan kanske klara av en del omild behandling, vanskligare är det när materialet till exempel består av dokument över mänsklig grymhet. Som när den amerikanska poeten och juristen Charles Reznikoff i boken "Förintelsen" från 1976 bearbetade protokollen från Nürnberg- och Eichmannrättegångarna till ett slags konceptuell vittnespoesi. De flesta är eniga om att resultatet inte på något sätt var stötande, tvärtom. Däremot väckte det ramaskri i den amerikanska litterära offentligheten när poeten Kenneth Goldsmith en kväll på Brown University läste upp obduktionsprotokollet efter den mördade Michael Brown som poesi. Brown var en artonårig svart amerikan, som obeväpnad sköts till döds av en vit polisman i Ferguson, Missouri, i november 2014. Även Kenneth Goldsmith är vit. Och det var framför allt det som gjorde folk upprörda. Jag tänker att det inte hade hjälpt om Goldsmith varit svart eller latino som en del menade. Idén är helt enkelt inte tillräckligt bra, den är plump, okänslig. Om den är originell eller inte är liksom ovidkommande. Den stora skillnaden mellan Reznikoffs och Goldsmiths verk är ju att det bakom Reznikoffs ligger ett minutiöst redigeringsarbete, medan Goldsmith helt litar på sin idé. Jag har alltid tänkt att eventuell originalitet sitter mer i utförandet än i gesten, i byggstenarna snarare än i strukturen. Jag menar hur många riktigt originella litterära idéer kläcks det på ett århundrade? Någon säger: Jag ska skriva en tjock roman om en tjej som vägrar gå upp ur sängen Någon annan säger: Jag ska skriva en diktsamling som samplar material från ballistiska undersökningar. Ja ja, gör det. Resultatet kan säkert bli originellt, om ni jobbar lite. Lars Hermansson, författare och kritiker Litteratur Jen Bervin: Nät. Översättning Niclas Nilsson, utifrån Eva Ströms Shakespearetolkning. Rámus förlag, 2018.

Explore the bookish side of museums in a revealing conversation with poet, Kenneth Goldsmith, the first and only Poet Laureate at New York City's iconic Museum of Modern Art (MoMA). 

Grayson Perry goes backwards in the archive in search of the moment the avant-garde died. It's a century since Marcel Duchamp submitted his artwork called Fountain to an exhibition staged by the Society of Independent Artists in New York. Fountain was a urinal -- not a painting of a urinal or a sculpture, just a urinal, bought from a Manhattan hardware store and signed R.Mutt. The Society of Independent Artists rejected Duchamp's provocation and the original object was lost. Nowadays Duchamp's urinal is canonised as the fountainhead of conceptual art and the high water (closet) mark of the avant garde. Replicas of the Fountain grace museums around the world - emblems of the avant-garde spirit of experimentation and confrontation. Somewhere in the intervening years though, something changed - contemporary art lost its ability to shock and critique. We're still hopelessly drawn to the idea of art that's 'cutting edge', 'ground-breaking', 'revolutionary'. But is that possible at this point -- haven't we seen it all before? Maybe the death knell was sounded when the Saatchi Gallery opened on the South Bank? Or with the advent of protest and radical chic in the 1960s? Maybe it was when the CIA funded the abstract expressionists? Or when the post-war art market began to reign supreme? Or when the Museum of Modern Art opened its doors in 1927? Or maybe it was all a matter of style the very moment Duchamp's Fountain was conceived? Featuring Brian Eno, Kenneth Goldsmith, Nnenna Okore, Cornelia Parker, and Sarah Thornton. Producer: Martin Williams.

Sukhdev Sandhu travels to the epicentres of countercultural America in Woodstock and San Francisco to tell the story of a book of hippy philosophy that defined the 1960s and intimated how the internet would grow long before the web arrived. With Luc Sante, Eliot Weinberger, Kenneth Goldsmith, Ed Sanders, Lois Britton, and Fred Turner Producer: Tim Dee.

What makes creativity? Is it money? Is it a gift from the Powers That Be? Is it won through trials and tribulations? Shepherd School of Music Professor of Violin Kenneth Goldsmith unveils the ancient formula. He looks at how Haydn, Grieg, and Ravel – composers from different life circumstances and different times – all used their mysterious powers of creativity to explore the same theme. Audio production by Todd “Tether Ball King” Hulslander with a really good try at defense by Dacia Clay. Music in this episode: – Josef Haydn: Symphony #6 “Le Matin” – Edvard Grieg: Morning Mood from Peer Gynt Suite #1 – Maurice Ravel: Daphnis and Chloe, Suite #2 Professor Kenneth Goldsmith. Photo courtesy of Shepherd School website.   For more about Kenneth Goldsmith:www.music.rice.edu/facultybios/goldsmith.shtml

A keynote lecture by the poet named the inaugural Poet Laureate of MoMA

Kenneth Goldsmith‘s latest book Seven American Deaths and Disasters (powerHouse Books, 2013), a title taken from the series of Warhol paintings by the same name, is a classic book of defamiliarization. By transcribing the words broadcast in real-time by the media’s unscripted response to historical events, Goldsmith brilliantly drains these infamous moments of cliche. Choosing seven critical moments in American history, which all have in common the spectacle of violence and lose, Goldsmith creates a traumatic prose that yields a poetic response to the John F. Kennedy, Robert F. Kennedy, and John Lennon assassinations, the space shuttle Challenger disaster, the Columbine shootings, 9/11, and the death of Michael Jackson. Because we experience public events most often through the media, those events quickly take on the voltage of performance, and Goldsmith takes advantage of this by being the casting director and choosing who will have the speaking roles. In “Seven American Deaths and Disasters”, most often those speaking roles go to the reporters or radio personalities completely unprepared to articulate what they are reporting. As a result, we see how language fails us, saves us, and also indicts us. At times disturbing and emotional, the book let’s us relive and reconsider those historical events again, but in the present, off-screen, and privately. During our chat, we discuss the resistance his work sometimes encounters in the poetry world, the nature of the “genuine”, how this book deviates from his previous work, and Kenneth and I take turns reading passages from his book, and so much more. I hope you enjoy our chat as much as I did. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenneth Goldsmith‘s latest book Seven American Deaths and Disasters (powerHouse Books, 2013), a title taken from the series of Warhol paintings by the same name, is a classic book of defamiliarization. By transcribing the words broadcast in real-time by the media’s unscripted response to historical events, Goldsmith brilliantly drains these infamous moments of cliche. Choosing seven critical moments in American history, which all have in common the spectacle of violence and lose, Goldsmith creates a traumatic prose that yields a poetic response to the John F. Kennedy, Robert F. Kennedy, and John Lennon assassinations, the space shuttle Challenger disaster, the Columbine shootings, 9/11, and the death of Michael Jackson. Because we experience public events most often through the media, those events quickly take on the voltage of performance, and Goldsmith takes advantage of this by being the casting director and choosing who will have the speaking roles. In “Seven American Deaths and Disasters”, most often those speaking roles go to the reporters or radio personalities completely unprepared to articulate what they are reporting. As a result, we see how language fails us, saves us, and also indicts us. At times disturbing and emotional, the book let’s us relive and reconsider those historical events again, but in the present, off-screen, and privately. During our chat, we discuss the resistance his work sometimes encounters in the poetry world, the nature of the “genuine”, how this book deviates from his previous work, and Kenneth and I take turns reading passages from his book, and so much more. I hope you enjoy our chat as much as I did. Learn more about your ad choices. Visit megaphone.fm/adchoices

Playliste de Joachim Montessuis pour webSYNradio : Pneumatology avec Bryan Lewis Saunders, Carl Stone, Chloé Delaume, Dave Philips, Jarrod Fowler, Junko + Mattin, Kenneth Goldsmith, Maja Ratkje & Joachim Montessuis, Margaret De Wys, People like us, Philippe Zunino, Phil Minton, Runzelstirn & Gurgelstøk, Dylan Nyoukis and Spicer Dan, Gil_J_Wolman, Charlemagne Palestine, Whitehouse, Tim Hecker, Masonna, Fat worm of error, Eliane Radigue

Kenneth Goldsmith, Nada Gordon, Steve McLaughlin, and Al Filreis discuss Sharon Mesmer's "I Accidentally Ate Some Chicken and Now I'm in Love with Harry Whittington."

Yoko Ono flushing toilets, La Monte Young’s “Theater of Eternal Music,” Larry Miller’s baby crying, Alison Knowles onion skin music and loads more.

Margaret Smith, physical Sciences librarian at New York University and consulting archivist for UbuWeb, explained the characteristics of UbuWeb, a site that is known for its work in recovering audiovisual archives of 20th century avant-garde art and making it publicly available on the Internet. UbuWeb was created by Kenneth Goldsmith in 1996 as an archive of visual, concrete and sound poetry, and later began adding films and other text and sound archives. Given the limited access to much material from the avant-garde movements, the UbuWeb team decided to make this content available to Internet users under a principle of “gift economy”, without charging for it and avoiding any kind of commercial format. Without a budget of any kind, UbuWeb operates thanks to collaborations with different centres and companies, and remains outside of the institutional and academic spheres. Most of the material published is obtained without permission (Margaret Smitt said that “Ubu behaves as though copyright did not exist”).

Margaret Smith, bibliotecaria de Ciencias Físicas de la Universidad de Nueva York y consultora sobre archivos para UbuWeb, explicó las características de este sitio que se ha destacado por recuperar archivos audiovisuales del arte de vanguardia del siglo XX y ponerlo a disposición del público a través de Internet. UbuWeb nace en 1996 de la mano de Kenneth Goldsmith como archivo de poesía visual, concreta y sonora, que posteriormente introduce también films y otros archivos de texto y sonido. Sin presupuesto de ningún tipo, UbuWeb se mantiene gracias a la colaboración entre diferentes centros y empresas, manteniéndose al margen del ámbito institucional y académico. La mayoría del material publicado se obtiene sin permiso (Margaret Smith afirma que “Ubu se comporta como si no existiese el copyright” y lo define como “una fuente comisariada de arte y sonido del siglo XX en la Red”).

How the French avante-garde twisted up and bent language, featuring Rimbaud, Apollinaire, the space age poetry of Ilse Garnier, and more.

Listening to the far out sounds of 1970's LA, featuring Chris Burden, Paul McCarthy, and the Kipper Kids, among others.

And other ethnopoetic marvels, including speaking in tongues, throat singers, and sound poetry.

Hear Allen Ginsberg's hilarious "CIA Dope Calypso" and peak performances by Ezra Pound, Amiri Baraka and Abbie Hoffman.

You really should listen to the numbers 1 through 100 . . . especially 79.

Tellus's trove of '80s recordings, from ethnopoetics to Paul Bowles.

Aspen featured Warhol, the Velvets, and John Lennon twiddling the radio dial.

Kenneth Goldsmith shares some insane and profane sounds that lie between Avant-Garde and Outsider Art, including recordings by Jim Roche, Robin Kahn, and Sean Landers.

The John Giorno Poetry Systems

20 shows! Wow! I think back to my initial conversations with Duncan in a bar downtown and I doubt we ever expected to get an audience as large as we now have (which has doubled in the last month), the number of great, brilliant people working with us around the world, and the wonderful feedback we have been getting, thanks to you all! We continue to look at Bad at Sports as an open resource, so let us know what you think. If you want to contribute (particularly if you are somewhere other than Chicago), let us know! We are here as a public resource. Thanks! Also, curious minds are still waiting to hear a good explanation of why, without permission from the artist, UIC took the Death by Design piece down off of the Temporary Allegiance flag pole at Gallery 400. Someone please enlighten us. Check out the cool pictures of us Duncan posted: http://www.badatsports.com/pages/about.htm Lane Relyea purportedly thinks we are cool. THIS WEEK: We interview Mark Booth--artist, teacher, and curator of the forthcoming “an incomplete map of everything�? festival at Links Hall. Per the Links Hall press release: “an incomplete map of everything is a fragmentary atlas of an imaginary world. The festival is comprised of co-existing “landforms�? of an experimental nature; the Goldsmith archipelago, the Bök atoll, the plateaus of Goulish, the Bervin Sea, the isthmus of Mallozzi, and the fjord of Ross. There are other topographical features as well, both familiar and unfamiliar; emerging glaciers, new volcanoes, and uncharted estuaries. If there is one thing these artists have in common apart from their shared commitment to experimentation and investigative exploration it is their interest in probing the minimal elements that form the materiality of human experience.�? Mark also talks about being mistaken for a spaceman. Richard and Amanda apologize to Duncan for creating confusion over the name Middle Management. Duncan and Amanda fight TO THE DEATH over whether or not it is acceptable to curate yourself into a show. And, finally, Richard insists you bow down to the genius of Patti Smith’s first record! Names dropped:Tiny Hairs, Terri Kapsalis, Libby the cat, Christian Bök, Judd Morrissey, Relaxation Record, Jesse Seldess, Luc Tuymans, Leonie Weber, Ben Brown, Meg Nafziger, Jeff Kowalkowski, Michael Workman, NOVA, Lou Mallozzi, Björn Ross, Fessenden, Institute of Failure, Trent Smith, Petrova, Jen Bervin, Lilli Carré, Erin Tikovitch, Tony Rosati, The 6 Ghosts of Fear, Ginger Krebs, Erin Moore, Kenneth Goldsmith, Ken Fandell, Matthew Goulish, Justin Cooper, Christopher Lavery, Daniel Borzutzky, CJ Mitchell, Goat Island, James Rondeau, Jimi Hendrix, Patti Smith, Open End Gallery, and last, but not least, Furries. NEXT WEEK: Barbara Koenen, fabulous overlord of the Chicago Artist Resource site, talks about how artists can make the most of what Chicago has to offer, and so much more.

(c) 2007 Kenneth Goldsmith. Distributed by PennSound: http://writing.upenn.edu/pennsound

(c) 2007 Kenneth Goldsmith. Distributed by PennSound: http://writing.upenn.edu/pennsound/