Podcasts about marshal mcluhan

Several decades ago, media and communication theorist Marshal McLuhan was warning us that the technological tools we create and embrace have long-term effects that are not always positive. He said, “first we shape our tools, and then our tools shape us.” Now that the smartphone has been present in our culture and lives for over seventeen years, we are seeing how our lives and relationships are changing. A college professor named Brandon McDaniel coined a term that describes one such negative effect. The term is technoference. Simply stated, technoference occurs when our attention to screens disrupts our personal communication or time spent with others, including our family and friends.  We constantly check our screens when we are in the presence of others or in conversation with others. Recent surveys tell us that more and more kids are complaining about the technoference that comes when parents spend too much time on their phones. Do you need to change your habits?

La Inteligencia Artificial ha irrumpido en el ámbito educativo a una velocidad impactante. Los científicos se preguntan si tendrá un efecto devastador en las capacidades cognitivas humanas o potenciará el cerebro como si fueran un organismo más de nuestro cuerpo en línea con la conocida metáfora de McLuhan. Marshal McLuhan, conocido investigador en Comunicación, utilizó la metáfora de la tecnología como una extensión de nuestro cuerpo. Cada nueva tecnología amplía nuestras capacidades físicas y mentales, actuando como una extensión de nosotros mismos. Por ejemplo, el teléfono extiende nuestra voz, la televisión extiende nuestra vista y el automóvil extiende nuestras piernas. La pregunta es ¿la IA generativa está preparada para ser una extensión de nuestro pensamiento, nos puede ayudar a aprender más y mejor? Si quieres acceder al contenido del artículo científico súmate a nuestro boletín: http://eepurl.com/iHax6s Aquí te dejo el enlace al vídeo sobre Google NotebookLM: https://youtu.be/nWPRfD8W2Nw

Joey Taylor & Sam Pressler speak with Pete Davis about Join or Die, which he directed with Rebecca Davis.The Lost Prophets PodcastPete's Interview with SamDedicated by Pete DavisBowling Alone by PutnamThe Upswing by PutnamSum of Us by McGheeAgainst Everyone with Conner Habib PodcastWeird Studies PodcastLindy Effect - Nicholas Nassim TalebThe MaintainersQuest for Community by NisbetFebruary 2nd, 1968 by Wendell Berry Small is Beautiful by SchumacherThe Creation of the American Republic by WoodOur Divided Political Heart by DionneTriplets of Evil Speech by KingBoy in the Bubble by Paul SimonJane Macelevy, Eddie Glaude, Frederick Law Olmsted, Abraham Joshua Heschel, Jane Jacobs, Buckminster Fuller, Ralph Nader, Paul Goodman, Ella Baker, Ivan Illich, Dorothy Day, Peter Maurin, Marshal McLuhan, Tony Judt, Thomas Merton, Michael Lind, Frank Capra, Elias Krim, Roberto Unger, Alexis De Tocqueville, Priya Parker

Is the Medium Still the Generational Message?When Canadian media theorist and futurist Marshall McLuhan wrote his most influential works in the 1960s, it's hard to imagine he really envisioned our world as it is, in all its technological and social media complexity. Still, his notion that, ,the medium is the message, endures, and even invites us to consider how the evolution of the media ecosystem has rippled across, and perhaps even, shaped subsequent generations. For insights on whether the avalanche of media makes us better informed than we were in the past we invite, in order of generational seniority: from the baby boom: Suanne Kelman career journalist and professor of journalism, now retired; from generation X: Paolo Granta, associate professor of Book and Media Studies at the University of St. Michael's College in the University of Toronto; from the millennial generation: Noor Malik, a marketing professional; and from gen Z, TikTok content creator, Hazel Thayer.See omnystudio.com/listener for privacy information.

In this episode Barry and Mike discuss Marshal McLuhan's seminal text, The Medium is the Massage: An Inventory of Effects. They discuss the form of the book and some of the key opening arguments.

Steve's “exploring” AI girlfriends, Cameron's using Code Interpreter, there's a new cancer drug in human trials, Worldcoin has launched, room-temperature superconductor hype, Tesla conquers the car market, Transhumanism, Marshal McLuhan and how to make AI trustworthy.

Is the Medium Still the Generational Message?When Canadian media theorist and futurist Marshall McLuhan wrote his most influential works in the 1960s, it's hard to imagine he really envisioned our world as it is, in all its technological and social media complexity. Still, his notion that, ,the medium is the message, endures, and even invites us to consider how the evolution of the media ecosystem has rippled across, and perhaps even, shaped subsequent generations. For insights on whether the avalanche of media makes us better informed than we were in the past we invite, in order of generational seniority: from the baby boom: Suanne Kelman career journalist and professor of journalism, now retired; from generation X: Paolo Granta, associate professor of Book and Media Studies at the University of St. Michael's College in the University of Toronto; from the millennial generation: Noor Malik, a marketing professional; and from gen Z, TikTok content creator, Hazel Thayer.See omnystudio.com/listener for privacy information.

Barry and Mike pick up their discussion on Raymond Williams' monograph, Television: Technology and Cultural From. In their previous episode they covered the idea that media technologies are answers to specific problems, rather than inventions looking for applications. In this episode they discuss how Williams' ideas fit and clash with Marshal McLuhan's ideas of media as being self-determining. In short, they look at whether the tensions between Williams and McLuhan is a case of a terminological incompatibility, or whether the two philosophies of media technologies really do argue for different models and outcomes.

On today's episode we'll be traveling down some conceptually treacherous roads as we explore the meaning of “the road trip”.  We discuss many things including Crawfish Swarms, The Pink man of West Virginia, Peanut butter toilets, long distance biking, creepy motels, south of the border, the Sheline's remix, the state of Florida, Marshal McLuhan and Joseph Campbell and everything in between. So grab your gear and jump on shotgun, this is Against All Oddities.

First year economics classes usually begin the semester with the principles of supply and demand. You learn that incentives matter and that to suggest otherwise is to betray basic principles of economics - and human nature. You learn that you can ignore or violate these fundamental laws, but that you cannot change them. You learn that throughout history the societies that have succeeded recognize and respect these economic laws - they use them to their advantage. Well, someone needs to get this message to progressive Democrats - and soon -  because they have become completely unmoored from economic realities. And their agenda will end in economic disaster. In fact, it's already happening. Joining me on this episode to talk about economics and his work with Donald Trump, is my old friend, Kevin Hassett, who served in the Trump administration as Senior Advisor to the President and as his Chairman of the Council of Economic Advisers. His latest book The Drift, analyzes America's slide into socialism and how to arrest the decline. Kevin shares many fascinating insights into Donald Trump's effective economic policies and his personality. “The public persona of Donald Trump is much, much different from what he was like when we were actually in the Oval Office or in the West Wing, working on real policy problems,” Kevin shares. “Behind closed doors, he is an incredibly nice guy, who's very thoughtful and likes to see all the sides of the arguments.”   In Kevin's book, The Drift he goes far back into Socialism's roots. “Joseph Schumpeter, the famous economist, back in the 1920s, looked ahead to America's future,” Kevin explains. “He said, the socialists are going to win. What's going to happen is capitalism's going to work for a while. And as we get really rich, we're going to send our kids to college. And the colleges are going to be basically places that indoctrinate folks to be socialists." “And the best universities are going to be the best socialists."   It's hard to do to justice to Kevin's many brilliant insights in an email summary. So I do hope you'll join in listening to our wide ranging conversation about Trump, socialism, the internet, Marshal McLuhan, social media, and the need to stand together to get the truth out. “We control respectability, we control the truth. We need to have the confidence to stand up and defend capitalism because it's true and it works.” He also shares whether he thinks Donald Trump will run for President again.  

Please subscribe to our YouTube channel: https://youtube.com/c/JournalofLife There has been a surge in our information sources in the past decade or so especially with the advent of social media. Most of the community is gathering their information from one or the pother social media platform. Now, here is a food for thought: What if the info is not just info but a means to manipulate and control? How do we decide if the platform owner is not just using the platform but filtering the info too according to their own whims? In such a situation how does one remain uninfluenced? Marshal McLuhan's Theory sheds light on this issue. Also, what is the importance of language? How does Language shape reality? How is language being attacked in the contemporary world? Discussing all of these questions and much more in the new episode of 'In conversation' series of our podcast 'Journal of Life.' Hope you guys like it!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/siddhartha-jha3/message

Subscribe to TMI Newsletter for all updates: https://mcluhaninstitute.substack.com/welcome Marshall McLuhan is one of the most famous media theorists because he basically started the field. If we want to understand our tools, theories, discursive life, or even consciousness itself, then we have to understand media... because as McLuhan argues, the medium IS the message. What characterizes us now in the age of the internet? The internet and the plurality of new media has added dimensions to the human condition. We are joined for Marshal McLuhan's birthday by his grandson, Andrew McLuhan. Andrew is putting his father and his frandfather's legacy into practice through the McLuhan institute. I look forward to talking about how technology shapes our understanding, and beginning the long journey of thinking with the McLuhans as we move forward into increasingly complex times. --- The McLuhan Institute exists to explore and understand the personal and social effects and implications of technology, following the pioneering work of Marshall McLuhan.

Subscribe to TMI Newsletter for all updates: https://mcluhaninstitute.substack.com/welcome Marshall McLuhan is one of the most famous media theorists because he basically started the field. If we want to understand our tools, theories, discursive life, or even consciousness itself, then we have to understand media... because as McLuhan argues, the medium IS the message. What characterizes us now in the age of the internet? The internet and the plurality of new media has added dimensions to the human condition. We are joined for Marshal McLuhan's birthday by his grandson, Andrew McLuhan. Andrew is putting his father and his frandfather's legacy into practice through the McLuhan institute. I look forward to talking about how technology shapes our understanding, and beginning the long journey of thinking with the McLuhans as we move forward into increasingly complex times. --- The McLuhan Institute exists to explore and understand the personal and social effects and implications of technology, following the pioneering work of Marshall McLuhan.

Nelson Thall is with us today to discuss the Kennedy assassination, Marshal McLuhan, the Nazi connections in the United States, and so much more. Mr. Thall will focus on how McLuhan was destroyed for revealing too much information into the mainstream regarding communication, propaganda, and the use of media as a medium of control. Guest Link McLuhanesque Tactics

One way of describing modular synthesis is to look at the studio as oscillators,  filters and envelopes  modulated by control voltage. To paraphrase Marshal McLuhan we flip to the simultaneous and extend the ganglia of our nervous systems when we compose in the electronic studio.  Send me a note at zenglop@gmail.com.An earlier blog post I wrote about McLuhan: https://www.zenglop.net/zenglop/2013/03/mcluhan-auditory-space.htmlI'm making a push to build up my youtube channel.  Here's an easy link to subscribe.  https://www.youtube.com/channel/UCoOlX6NXyQBABYljo1vAuHA?sub_confirmation=1

One way of describing modular synthesis is to look at the studio as oscillators,  filters and envelopes  modulated by control voltage. To paraphrase Marshal McLuhan we flip to the simultaneous and extend the ganglia of our nervous systems when we compose in the electronic studio.  Send me a note at zenglop@gmail.com.An earlier blog post I wrote about McLuhan: https://www.zenglop.net/zenglop/2013/03/mcluhan-auditory-space.htmlI'm making a push to build up my youtube channel.  Here's an easy link to subscribe.  https://www.youtube.com/channel/UCoOlX6NXyQBABYljo1vAuHA?sub_confirmation=1

Today’s guest is Alex Danco, one of my favorite writers in the world. Back when I was in college and before I started writing, Alex was one of the first people who made me say “Wow I want to write like this for a living.” For years, he worked on the Discover team at Social Capital where he wrote a weekly newsletter called Snippets. Now, he’s joining the Shopify Money team, where he’s building the future of financing merchants and entrepreneurs with everything they do. This episode begins with a conversation about a book called Technological Revolutions and Financial Capital. It’s a favorite of investors like Fred Wilson and Marc Andreessen and Alex breaks it all down for us. Then, we talk about cities and the growth of suburbs in North America. And finally, we talk about the mechanics of writing online. ____________________________ Shownotes 2:10- How Alex found Carlotta Perez and her book Technological Revolutions and Financial Capital through the work of Bill Janeway. Why, if you are creating an unknown truly new product, you cannot know the value of your equity. How the venture capital community uses tested milestones to show potential value to investors. 10:20- An overview of the two main ways that risky business ventures were funded before VC. How financial capital and production capital exist fundamentally in tension with each other. Carlotta Perez’s theory on the life cycle of financial bubbles. 17:15- Is entrepreneurship across the US growing or shrinking today? Why the current VC and tech industry is a great example of "we shape our tools and then they shape us." Why founders are increasingly interested in funding that prioritizes optionality. 27:00- Why venture capital values opposite indicators of success than the general economy. Why so much education for innovators is focused on venture capitalism. Why Alex believes that financial Twitter will help fill the role of intellectual stimulation for people managing boring businesses.  34:30- Why Alex writes 5,000 words a week. How writing in public can help in ways that just thinking does not.  39:10- How to find "the villain" in your writing. How Alex believes urbanization and intellectual migration to cities will change in the US in the future. Jane Jacobs and the idea of complete communities versus gentrification. 48:18- Why complete communities are now found in the suburbs. The growing pains of Toronto. Why so many world-class musicians have come out of Toronto. How do highways create local culture? 59:10- What the organic, long-lived nature of cities means for how they change. How autonomous vehicles will change cities. How the pricing power and efficiency of large companies distorts the true cost of shipping, healthcare, and education. 1:08:10- How audio changes our brains. How the feed-forward system works in our sensory perception and motor function. Alex explains Claude Shannon's information theory and Marshal McLuhan quote "the medium is the message." 1:21:42- Why audio is the most information-heavy medium. Why great writing is not written the way that the author speaks. How Alex interprets the classic Nixon/Kennedy debate story.  1:27:22- What the rise of podcasts means for media consumption and mental processing in the US. Why Donald Trump thrives in an audio environment.  1:32:07- How Alex uses summarizing to improve his writing. How publishing every week informs Alex's content. Why the background information in your writing is some of the most important material in your post. 1:37:14 How Alex crafted his piece Social Status in Silicon Valley. How to create new ideas and work using an anchor in what you know.

Metrograph http://metrograph.com/ Moviepass https://www.moviepass.com/ Cineville https://www.cineville.nl/en/card The Criterion Channel https://www.criterionchannel.com/ Uncut Gems https://a24films.com/films/uncut-gems Good Time https://www.imdb.com/title/tt4846232/ Adam Sandler Netflix Deal https://www.theverge.com/2020/1/31/21116858/adam-sandler-netflix-deal-four-movies-murder-mystery-most-viewed-2019 Punch Drunk Love https://www.youtube.com/watch?v=VNeZi1y_v88 Kevin Garnett https://en.wikipedia.org/wiki/Kevin_Garnett Moneyball https://en.wikipedia.org/wiki/Moneyball Me Too https://en.wikipedia.org/wiki/Me_Too_movement Gomorrah https://www.youtube.com/watch?v=egtdYTuRKto Curb Your Enthusiasm https://www.hbo.com/curb-your-enthusiasm Jacob the Jeweler https://en.wikipedia.org/wiki/Jacob_Arabo The Weekend https://www.theweeknd.com/ Atlanta https://www.fxnetworks.com/shows/atlanta Lakeith Stanfield https://www.imdb.com/name/nm3147751/ Ozu https://en.wikipedia.org/wiki/Yasujir%C5%8D_Ozu Wim Wenders https://www.wim-wenders.com/ Tokyo-ga: Wim Wenders and Chishu Ryu - YouTube https://www.youtube.com/watch?v=C70WutMsyGk https://www.youtube.com/watch?v=KiAWJKgrAko&app=desktop Mandy https://www.youtube.com/watch?v=rI054ow6KJk Charles Manson https://en.wikipedia.org/wiki/Charles_Manson Panos Cosmatos https://en.wikipedia.org/wiki/Panos_Cosmatos George P Cosmatos https://www.imdb.com/name/nm0181902/ Quentin Tarantino https://en.wikipedia.org/wiki/Quentin_Tarantino Kung Fury https://www.youtube.com/watch?v=bS5P_LAqiVg Stranger Things https://www.youtube.com/watch?v=b9EkMc79ZSU ET https://www.youtube.com/watch?v=qYAETtIIClk Back to the Future https://www.youtube.com/watch?v=qvsgGtivCgs Nicholas Cage Screaming https://www.youtube.com/watch?v=S73swRzxs8Y Johnny Depp https://www.imdb.com/name/nm0000136/ KODI https://en.wikipedia.org/wiki/Kodi_(software) Predator catch phrases https://www.youtube.com/watch?v=dKGgvPaNP8Q Pink Floyd https://en.wikipedia.org/wiki/Pink_Floyd Johnny Rotten https://www.youtube.com/watch?v=xlUHXKhSadg Duchamp Aesthetic Echo https://books.google.ca/books?id=Ipb1BJQXXSgC&pg=PA130&lpg=PA130&dq=duchamp+aesthetic+echo&source=bl&ots=pF2aHN4A9C&sig=ZW4T7jyu6dQ1IxudOldbd1yi9yU&hl=en&sa=X&ved=0ahUKEwiyn-jX287TAhVF0oMKHfI5ALkQ6AEINDAE#v=onepage&q=duchamp%20aesthetic%20echo&f=false Mandy shot digitally https://www.afcinema.com/Cinematographer-Benjamin-Loeb-discusses-his-work-on-Mandy-by-Panos-Cosmatos.html?lang=fr The Blair Witch Project https://www.youtube.com/watch?v=a_Hw4bAUj8A Kirie Irving ruins teams https://www.sbnation.com/nba/2020/1/16/21068905/kyrie-irving-brooklyn-nets-trade-comments-controversy-kevin-durant Game of runs http://www.hoopskills.com/game-of-runs Jeremy on Youtube https://www.youtube.com/user/jeremybailey06 Next in Fashion https://www.imdb.com/title/tt10394770/ Marshal McLuhan https://www.marshallmcluhan.com/ Pina https://www.youtube.com/watch?v=CNuQVS7q7-A Kirosawa’s Rashomon https://www.youtube.com/watch?v=xCZ9TguVOIA Cloud Rap https://open.spotify.com/playlist/37i9dQZF1DX5jNEiuvPyWr Mac Pro https://www.apple.com/mac-pro/ Star Trek https://ca.startrek.com/ Jeff Goldblum on Disney+ https://disneyplusoriginals.disney.com/show/the-world-according-to-jeff-goldblum Nicholas Cage Movie About Nicholas Cage https://nypost.com/2020/02/03/nicolas-cages-meta-movie-about-nicolas-cage-gets-2021-release-date/ Seduce And Destroy with Josh Safdie, Benny Safdie & Paul Thomas Anderson https://a24films.com/notes/2019/12/seduce-and-destroy-with-josh-safdie-benny-safdie-and-paul-thomas-anderson

“Make the world work  for 100% of humanity in the shortest possible time through spontaneous cooperation without ecological offense or the disadvantage of anyone.”                                                                                                   -Bucky Fuller There's no reason why we shouldn't attempt this. 2 in order for this to happen as I said in the last podcast wealthy people don't have to give up their stuff and don't have to give up their money, we just need to develop a system that allows everyone to participate and to be the benefit from the value that we have generated as human beings through our technology overtime. we have the technology to do that nowUnderstanding Media, The Extensions of Man-Marshal McLuhan

On this day, we remember John Wycliffe and Marshal McLuhan. The reading is selected stanzas from "God Rest Ye Merry Gentlemen." We’re a part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

Bob Logan and Face2Face host David Peck talk about the new play Copenhagen, complementarity, futurism, science for peace, wisdom over knowledge and having lunch with Neils Bohr.Find out more about Copenhagen and purchase tickets here. Synopsis Two tiny particles colliding can cause a nuclear reaction. It is 1941, nations race to perfect The Bomb, and two scientists meet in occupied Denmark for a conversation that will change the course of history. Copenhagen is a story of language, spoken and unspoken, and heard and unheard. An individual speaks to not only connect to another person, but to know where they stand in their relationship to reality; to experiment and test the boundaries of where they end and where the universe begins. In the language of quantum physics, we divide an atom into smaller and smaller pieces to get to its core – the sub-atomic world. Michael Frayn (Noises Off, Democracy) invites us to bear witness to the ultimate ethical impasse. Biography Bob is the physics Consultant for the Soulppeer production of Copenhagen and is Prof. Emeritus - Dept. of Physics & the School of the Environment and a Fellow of St. Michael’s College at the University of Toronto. He is also the Chief Scientist of the sLab at OCAD Univ. He taught the Poetry of Physics and Physics of Poetry course at U of T. He once had lunch with Niels Bohr when he was a student at MIT and collaborated and co-authored a book with Marshal McLuhan.He was also active in the business world operating a computer training company 1982-2000 and a web development company from 1994 to 2000 through which he did extensive consulting in knowledge management. He was active in politics from1974 to date. He has served as an advisor to PM Pierre Eliot Trudeau, policy chair of the Ontario wing of the federal Liberal Party and an advisor to various federal cabinet ministers. He is also an author or editor of 12 books and many articles in refereed journals. He is currently engaged in consulting in the electricity sector as an associate of Elenchus Consulting. He continues to teach The Poetry of Physics at the U. of Toronto where he is Prof. Emeritus. In June 2011, he was presented with the Walter J. Ong Award for Career Achievement in Scholarship by the Media Ecology Association.Photo Credit: Daniel Malavasi Image Copyright: Daniel Malavasi and Soulpepper theatre. Used with permission. Music Copyright: David Peck and Face2Face. Used with permission. For more information about David Peck’s podcasting, writing and public speaking please visit his site here. With thanks to Josh Snethlage and Mixed Media Sound. See acast.com/privacy for privacy and opt-out information.

Today’s episode is a conversation with Bob Swartz, the founder and chairman of Impossible Objects. Although that title does a disservice to his resume. He literally grew up in in the manufacturing business, watching his father figure out how to design and build things; he’s been a consultant to the MIT Media lab, he’s got several patents, which he’s licensed to major corporations … through his own patent licensing company; he’s founded and operated software companies, advertising companies, telephony companies; he is a true polymath. He’s also something of a philosopher, which makes for a wonderful conversation.As for Bob's current company, Impossible Objects, It uses a composite based additive manufacturing process - CBAM - which yields superior material properties. Like the other additive manufacturing companies we interview for this miniseries, Impossible Objects is aimed for the big boy manufacturing market – some of the users they brag about include Ford and the US Air Force. But this conversation with Bob is about much more than their customers, its about technological change, psychological lock in, economic ripple effects of new technologies, and more. AND, outside of a fantastic and fanstastical scene in Woody Allen’s Annie Hall, this conversation has my favorite use of Marshal McLuhan to make a point. :)If you haven’t already done so, you may want to check out episode 1 with Ben Redwood of 3DHubs, both to help you understand some of the technical terms used in this conversation – Ben goes through many of the different technologies that make up the current universe of 3D printing, and to get the URLs for some free material about 3DPrinting, created by 3DHubs. Ben also talks about the industry at large, which may give you some useful context. One last thing – immediately after the conversation with Bob, we’ve got a quick update from Ricky Buch, so stick around for Ricky's Reports from the Edge.

John Molloy the president of ATADA discusses the future of the Antique Tribal Arts Dealer Association and how it pertains to collecting early Native American Art and what is being done to help fight the trade of culturally sensitive objects. John shares his life story of getting into the Indian arts profession and how he now deals in contemporary art in New York City along with the antique Native Material. Interesting discussion on Marshal McLuhan and his influence on John's life.

Ron and I discuss a 1968 television debate/discussion between Norman Mailer and Marshal McLuhan. We/them talk about the stuff that's important to the age we live in. Globalism, traveling, the internet, violence, handjobs, you know, that stuff. Check out the whole 1968 discussion here: https://www.youtube.com/watch?v=PtzxWR-j1xY&t=1082s

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. It comes across clumsy and mismatched, alienating and lazy, rather than the inclusive, ‘worldwide', gritty and new-age aesthetic it needs to succeed. – Bibliography Apple (2014) ‘HTTP Live Streaming Overview' On: iOS Developer Library [Accessed 01 January 2016] Apple (2015) Apple – WWDC 2015. [Online Video], 15 June. [Accessed 01 October 2015] Apple (2015b) Music: Radio [Online] [Accessed 01 October 2015] Apple (2015c) Availability of Apple Music, Apple Music Radio, and iTunes Match [online] [Accessed 01 October 2015] AudioAgain (2014) LBC Podcasts [online] [Accessed 21 January 2016] Baldwin, R. (2013) ‘Apple Dials in iTunes Radio, a New Streaming Music Service'; Wired. [online] [Accessed 24 November 2015] BBC (2009) ‘BBC's international news services attract record global audience of 238 million' On: BBC Press Office. 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Marshal McLuhan , Freemasons, Adam Parfrey, Narcissistic Anonymous Society, Psychopathy, Carl Jung, Sigmund Freud, Moon Lasers, Mythbusters, The Apollo Hoax,9/11 Hollow Towers, Charleston Shooting, Sandy Hook, Nuke Lies, Jesse Waugh, Selection 2016, Fast Food, Calvinism, The Tyrant of Geneva, John Calvin, The Jesuits, Damon calls in, John calls in, Dave calls in, Mike calls in,Sw Illinois calls in, Gerald Celente calls in,hoaxbusterscall.com

Meet Susan Blackmore, the world’s foremost expert on memes. The intro to her seminal work The Meme Machine was written by none other than genius biologist and fundamentalist atheist blowhard Richard Dawkins. Her lectures on TED receives millions of views— even despite TED's dishwater-dull format when compared to Litopia After Dark (rowr!) “Man becomes, as it were, the sex organs of the machine world,” said Marshal McLuhan. Never has this been more true. (Full quote: Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.) But do memes actually exist? Or are they simply metaphors to observe our shifting culture? And who is Susan Blackmore anyway? After an out of body experience she studied the paranormal for 24 years, only to arrive at the conclusion it was bollocks— all of it. So who’s to say she won’t soon say the same about memes? But wait, there’s more! Now she’d like for us to consider what she calls temes— technology assisted memes. Replicators so powerful they may yet turn our computers against us— and sooner than you think. Just ask Stephen Hawking. Because your Macbook Pro is spreading words, tunes, images and ideas much faster than your feeble human mind can imagine. Check everything you think you know about memes at the door. Because this show is no lecture. This show is virus inside of your mind. Spread the word. (PS - Blackmore's explosive article on fellow Litopia After Dark guest Susan Greenfield can be found here!) Check out her website! Buy her book! Do it now! Photo by zooterkin >>>>>> Download the show as an audio file Subscribe in iTunes

Meet Susan Blackmore, the world’s foremost expert on memes. The intro to her seminal work The Meme Machine was written by none other than genius biologist and fundamentalist atheist blowhard Richard Dawkins. Her lectures on TED receives millions of views— even despite TED's dishwater-dull format when compared to Litopia After Dark (rowr!) “Man becomes, as it were, the sex organs of the machine world,” said Marshal McLuhan. Never has this been more true. (Full quote: Man becomes, as it were, the sex organs of the machine world, as the bee of the plant world, enabling it to fecundate and to evolve ever new forms.) But do memes actually exist? Or are they simply metaphors to observe our shifting culture? And who is Susan Blackmore anyway? After an out of body experience she studied the paranormal for 24 years, only to arrive at the conclusion it was bollocks— all of it. So who’s to say she won’t soon say the same about memes? But wait, there’s more! Now she’d like for us to consider what she calls temes— technology assisted memes. Replicators so powerful they may yet turn our computers against us— and sooner than you think. Just ask Stephen Hawking. Because your Macbook Pro is spreading words, tunes, images and ideas much faster than your feeble human mind can imagine. Check everything you think you know about memes at the door. Because this show is no lecture. This show is virus inside of your mind. Spread the word. (PS - Blackmore's explosive article on fellow Litopia After Dark guest Susan Greenfield can be found here!) Check out her website! Buy her book! Do it now! Photo by zooterkin >>>>>> Download the show as an audio file Subscribe in iTunes

Simply Listen: Aruna Ratanagiri (29 mins) (keywords) Crisis, helping, thinking, not-thinking, eloquence, meditation, Marshal McLuhan, opinions, strength, conceit, investigation, vegetarian, women, Nyanavira, scriptures, war, pressure, Prince Charles, silence, kindness.

The Craft of Contemplation: Aruna Ratanagiri (30 mins) (keywords) Marshal McLuhan, fundamentalism, questioning, investigating, concentration, toolkit, samadhi, train, belief, goal, a feeling-enquiry, sati, awareness, mindfulness, wilfulness, 7 factors of enlightenment, equanimity, body, interest, reflective awareness, in the dead of the night, death, fear, ghosts, inner dialogue, non-fear, 32 parts, frustration, enemy, disappointment, energy.

University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts

University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts

University of Toronto Physics professor Robert K. Logan on The Origin and Evolution of Language and the Emergence of Concepts