Podcasts about mass culture

Rob King returns to the podcast. He is a professor of film and media studies at Columbia University's School of the Arts. He is the author of "Hokum! The Early Sound Slapstick Short and Depression-Era Mass Culture" (2017) and "The Fun Factory: The Keystone Film Company and the Emergence of Mass Culture" (2009). And now Rob has a new book "Man of Taste: The Erotic Cinema of Radley Metzger" (Columbia University Press, 2025). We are joined by novelist Cathy Brown who has some background behind the camera in the adult film industry. https://youtu.be/9kvinUaOKKk Radley Metzger was one of the foremost directors of adult film in America, with credits including softcore titles like "The Lickerish Quartet" and the hardcore classic "The Opening of Misty Beethoven". After getting his start making arthouse trailers for Janus Films, Metzger would go on to become among the most feted directors of the porno chic 'era of the 1970s, working under the pseudonym Henry Paris. In the process, he produced a body of work that exposed the porous boundaries separating art cinema from adult film, softcore from hardcore, and good taste from bad. Rob King uses Metzger's work to explore what taste means and how it works, tracing the evolution of the adult film industry and the changing frontiers of cultural acceptability. "Man of Taste" spans Metzger's entire life: his early years in Manhattan's Washington Heights neighborhood, his attempt to bring arthouse aesthetics to adult film in the 1960s, his turn to pseudonymously directed hardcore movies in the 1970s, and his final years, which included making videos on homeopathic medicine. Metzger's career, King argues, sheds light on how the distinction between the erotic and the pornographic is drawn, and it offers an uncanny reflection of the ways American film culture transformed during these decades.

Φιλοξενούμενος μας σε αυτό το επεισόδιο ο Νίκος από τους Mass Culture, ο οποίος μας μιλάει για την δημιουργία και την πορεία της μπάντας, τη δισκογραφία τους και τις ευρωπαϊκές τους περιοδείες. Πέρα από τη μπάντα, μας παρουσιάζει το συνεργατικό του εγχείρημα Black Box Records, καθώς και τις ιδέες του για την εγχώρια σκηνή και την D.I.Y κουλτούρα.Tracklist:Mass Culture 'Bones of this world'

In this moment of media fragmentation and the rise of niche communities, are there still ways to reach mass audiences? This week, Ben and Max bring on legendary marketing executive, Frank Cooper, who's always been at the center of big cultural shifts from his time at Def Jam in the 90s, AOL in the 2000s, and BuzzFeed in the 2010s. Throughout his career, he's also been seen as the culture translator for big corporations, as the CMO at PepsiCo and the CMO of Visa. They talk about Frank's unique career, who and what he thinks still moves people in mass — like Post Malone at the Louvre — and what he makes of this particular moment in the culture. He also shares stories from his time working in hip hop, what he's learned from LL Cool J, and how Snoop Dogg became the world's most marketable star. Also: if you have feedback for the show and want to participate in a casual focus group, please email Ben at ben.smith@semafor.com. Sign up for Semafor Media's Sunday newsletter: https://www.semafor.com/newsletters/media  For more from Think with Google, check out ThinkwithGoogle.com. Find us on X: @semaforben, @maxwelltani If you have a tip or a comment, please email us mixedsignals@semafor.com

This lecture will offer a new perspective on the rise of mass culture in Argentina during the early 20th century by putting a spotlight on the stories of Jewish entrepreneurs who immigrated from Eastern Europe to the metropolis of Buenos Aires. The lecture will focus on the stories of two key figures: Max Glücksmann and Jaime Yankelevich, who played a crucial role in the evolution of the Argentinian film, music, and radio industries. Glücksmann's career as Argentina's leading film distributor and Yankelevich's activities in the globalization of radio and musical commerce both offer a unique example of how Jewish immigrants to Argentina were central to mass culture's expansion. The opening words will be spoken by Prof Michael Brenner. The lecture is held in English.

In this episode, we discuss Theodor Adorno's essay “Free Time”, in which the critical theorist really lets his cantankerous old man flag fly. He argues that how our subjectivities are shaped by capitalist culture and work discipline makes it very difficult—maybe even impossible—to use our time off the clock in genuinely meaningful ways. Certainly we waste a lot of our precious hours consuming pointless, artless slop and participating in activities just because we feel like we're supposed to, but is it really the case that everything we do is just unfree pseudo-activity, at best blowing off steam before helplessly getting back to work? We broadly come down on the side of low culture and hobbies, but Marvel movies and Disney adults are definitely cause for concern.References:Theodor Adorno, “Free Time”, trans. Gordon Finlayson and Nicholas Walker, in The Culture Industry: Selected Essays on Mass Culture, ed. J.M. Bernstein (New York: Routledge, 2001).leftofphilosophy.com | @leftofphilmusic:“Vintage Memories” by Schematist | schematist.bandcamp.com“My Space” by Overu | https://get.slip.stream/KqmvAN

On this episode of On the Nose—recorded at an online event on October 30th—editor-in-chief Arielle Angel speaks with author Naomi Klein and writer and clinical psychologist Hala Alyan about the place of feelings and affect in the movement for Palestinian liberation. They discuss the role of grief and rage, how movements can accommodate affective diversity, and what it means to channel emotions politically. Thanks to Jesse Brenneman for producing and to Nathan Salsburg for the use of his song “VIII (All That Were Calculated Have Passed).Texts Mentioned and Further Resources:“How Israel has made trauma a weapon of war,” Naomi Klein, The GuardianThe Generation of Postmemory: Writing and Visual Culture After the Holocaust by Marianne HirschProsthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture by Alison Landsberg “‘Chronic traumatic stress disorder': the Palestinian psychiatrist challenging western definitions of trauma,” Bethan McKernan, The Guardian“Can the Palestinian Mourn?,” Abdaljawad Omar, Rusted Radishes“‘Resistance Through a Realist Lens,'” Arielle Angel in conversation with Abdaljawad Omar, Jewish Currents“Mourning and Melancholia,” Sigmund FreudThe Shock Doctrine: The Rise of Disaster Capitalism by Naomi Klein“One Year,” Palestinian Youth Movement, The New Inquiry (originally published in The New York War Crimes)Recognizing the Stranger: On Palestine and Narrative by Isabella Hammad“A Surge in American Jewish Left Organizing,” On the Nose, Jewish Currents“Gaza and the Coming Age of the ‘Warrior,'” Ghassan Hage, Allegra“One Year,” Arielle Angel, Jewish Currents newsletterThe Secret Life of Saeed: The Pessoptimist by Emile Habibi“Theses on the Philosophy of History,” Walter Benjamin

After an eternity of millennial performers with a chokehold on the charts, we've finally seen the emergence of a new cohort of gen-z icons. Chappelle Roan and Sabrina Carpenter (building on the foundation laid by Billie + Olivia) are suddenly everywhere—headlining festivals, topping the charts, defining the zeitgeist. You might call it a moment of generational turnover…except for the fact that precisely zero cultural lines are being drawn. Instead, the newest wave of big-tent pop is, quite intentionally, for everyone—teens, college kids, aging millennials, gen x-ers still watching SNL, etc. To celebrate the return of the mainstream (and to suss out the role played by the major labels who had…started to miss it), we put on our media theory hats and start investigating. How do careers function now that new music doesn't need to be new? Has digitally based fragmentation started to produce its opposite? Is the culture industry—with all of its coercive power—back? Come for the socio-technical implications of the Chappelle timeline. Stay for what it says about the nature of post-post-modernity.

I believe that we are all connected by these invisible threads, the shared sinew amongst all living things, that includes humans, plants, animals, what have you, and that what art is, is the lighting up, making those invisible threads visible. … It doesn't really explain in that analogy what art is, but it certainly speaks to the way it functions and why it should matter to society : why arts should matter.In this episode, Robin Sokoloski (she/her) discusses her recent experiences and current work in the arts research sector with a focus on how the arts community can have meaningful impact on  climate change and on community-engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.Robin has been working in the arts and culture sector for over twenty years. I remember her coming to us while I was working at Canada Council with this crazy idea for Mass Culture and 20 years later it is wonderful organization where she is Director of Programming and Research of Mass Culture, where Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research.My last conversation with Robin Sokoloski was e61 from research to action in 2021. This time we focused on the end of the world as we know it and the role of art came up, including how to use tools such as the Living Climate-Impact Framework for the Arts project, (see e195 emma bugg - art, scholarship and environment for details) and how to better mobilise the arts sector around climate change. Robin, who is a co-founder of SCALE and a leading voice in the Canadian arts service organisation climate action movement and I like her ideas: We're so good at bringing people together and having conversations, as an arts community, on a very surface level about very serious, complex issues. But we need the tools beyond just facilitation and different convening models. We actually need measuring sticks or whatever is at our disposal that we can feel confident in to be able to have those deeper level conversations. And that's what this framework does. I'm noticing as I'm bringing the art service organizations together around these conversations around climate, it's been very focused on climate mitigation. Fine, fair enough. I think that's a very important and valuable thing to be aware of. But now, whether we like it or not, we're at a point where we need to start thinking about climate adaptation. And this is a new frontier for me. I know it's also a very new space for the funders. And so what I think we need to be able to do, and what I feel very proud of what we're starting to achieve, is bringing both the funders together with different actors within the arts community to apply tools like Emma's framework to have these deep conversations about how we can move towards action. What does this look like for us now? What changes do we need to make?Robin also believes in community-engaged arts and the in ‘walking her talk' by integrating participatory processes in everything she does: Community engaged arts is really a set of principles that I have completely been able to live by throughout my career. So fortunately, specifically within mass culture, I align community engaged arts very closely to a methodology within academia called participatory action research. And what's so relevant and how I feel that community engaged arts can have a real significant impact on art and climate is because of these principles which always rate relationships above anything else. After our conversation, I wrote to a friend that ‘Robin is one of the holders of key knowledge for the future of the arts in this country' and I think she's just getting started. *Sections of the podcast (generated by AI and reviewed by Claude Schryer)Welcome BackIn this introductory chapter, Claude welcomes Robin back to the podcast after three years, setting the stage for an engaging conversation about art, climate change, and community arts.Introducing Robin SokoloskiRobin shares her background, including her roots in Brantford, Ontario, and her role as the director of Mass Culture, emphasizing the importance of understanding the art sector's impact on society and the environment.The Climate Crisis and Art's RoleThe discussion shifts to the current climate crisis, with Robin reflecting on her work related to environmental issues and how the arts community can contribute to meaningful change.Living Climate Framework for the ArtsRobin explains the Living Climate Framework for the arts, a tool designed to help the arts community navigate complex conversations about climate action and its intersection with art.Barriers to Engagement in the ArtsThe conversation delves into the barriers faced by arts organizations in addressing climate change, highlighting the need for deeper discussions and tools to facilitate meaningful engagement.Community Engaged ArtsRobin discusses the principles of community engaged arts, emphasizing the importance of relationships and collaboration in creating impactful art that resonates with communities.The Future of Arts in a Changing WorldThe discussion turns to the future of community arts in the face of societal changes, exploring how arts can foster solidarity and cooperation in local communities.Arts as Meaning MakersRobin reflects on the role of the arts in making meaning of the world, especially in a time when trust in information is crucial, and how artists can narrate diverse truths.Recommended Reads and ResourcesRobin shares her current reading list, including insights from research on civic impact in the arts and the importance of experience design in bringing people together. *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

It's really important to have some sort of horizon to grasp onto and work towards and for me that is thinking about what possible worlds might exist and how can I spend my time contributing to making those worlds possible. Of course that is a huge question and it changes a lot day to day. I have been thinking a lot lately about how art and scholarship around the environment can teach and inform one another in terms of practice and action.I know Emma Bugg from two art and environment research activities in Canada : Sustainability and the Arts (SATA), a SSHRC funded project led by Dr. Tarah Wright, professor at the Department of Earth & Environmental Sciences, at Dalhousie University that identifies Canadian and global scholars, artists and practitioners working in sustainability, including myself as one of their advisors. The other project is the Living Climate-Impact Framework for the Arts project, a qualitative arts framework, designed as part of the Research in Residence: Arts Civic Impact Initiative by Mass Culture, led by Robin Sokoloski, produced in collaboration with CreativePEI, that provides indicators to measure arts impact in environmental sustainability and fosters transformation towards climate action and adaptation by using forward-thinking to create a useful arts impact assessment framework.Some interesting research here on how the arts can make a difference and the role of the arts in the ecological crisis.  In other words, Emma Bugg, who is currently an interdisciplinary PhD student at the Faculty of Graduate Studies at Dalhousie University in Halifax, Nova Scotia is an arts is a climate research nerd or rather an arts and climate hero. Hard working and with an endless curiosity.  Before her studies at Dalhousie, worked at the Ottawa based non-profit Evidence for Democracy as the Communications and Campaigns Manager.Our conversation explored the dilemma of the environmental crisis as a cultural crisis, and how if we want a sustainable future - and we do want and need that - or any kind of future for that matter, we need to culturally transform our entire society.Scholars like Emma are doing their part and increasingly contributing to the emerging field of sustainability and the arts; however, this growing body of scholarship and knowledge, has not yet effectively tackled the specific role of arts organizations and their potentialities for impact and this is one of Emma's passions. I got caught up myself in Emma's enthusiasm for data, research and impact measurement during our conversation, when committed, quite impulsively, to apply the Living Climate-Impact Framework for the Arts on this podcast as a test case which I will share when I'm done on my ‘a calm presence' Substack. Kudos to Emma and Robin and their colleagues for this tool. I invite others to try the framework. It's a lot of fun to go through the Who, How, What format.Emma recommends the following reading materials:Emergent Strategy, Shaping Change, Changing Worlds by adrienne maree brownLillian's Place by Alexis Bulman (cedar shed in Stratford PEI)Note: also of interest to this episode is this paper by Emma Bugg, Tarah Wright and Melanie Zurba: Creativity in climate adaptation: Conceptualizing the role of arts organizations and https://cgscholar.com/bookstore/works/understanding-impact-in-sustainability-and-the-arts *END NOTES FOR ALL EPISODESI've been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It's my way to give back and be present.In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also, please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on July 20, 2024

Just a touch late, but still on Tuesday! The fellas talk about mass culture, David Foster Wallace, media biases, and an addiction to being correct. It's a classic Catching Foxes extravaganza! Enjoy!

I've been thinking a lot about the importance of connecting the value of the arts to everyday citizens and their own connection to creativity, whatever that might be. I think it's something we should be talking about now, not only within our communities and within the arts sector, but outside of as well : talking about the value of the arts to feelings of belonging and connection and the ability to build bridges that the arts uniquely have. - kelly langgard, june 5, 2024 imagining in public - cultural leadership in a changing world panelI agree with Kelly Langgard that the arts have the capacity to build bridges and deepen feelings of belonging and the arts also have a lot of influence, and responsibility, in our changing world, as you are about to hear. So welcome to a special episode of the conscient podcast, brought to you by the Public Imagination Network in collaboration with Mass Culture - Mobilisation culturelle.You're about to hear a 90 minute conversation on the theme of ‘cultural leadership in a changing world' that took place on June 5th 2024 on Zoom with about 100 participants from across Canada. But first, who is who. The conversationalists were Public Imagination Network Fellows Devyani Saltzman, Evalyn Parry and Shannon Litzenberger alongside Kelly Langgard, Director and CEO of the Toronto Arts Council and Michael Murray, CEO of the Ontario Arts Council | Conseil des arts de l'Ontario.Now you might know that the Public Imagination Network is a group of leading artists and thinkers who are passionate about creative responses to issues of public governance and social justice and you can hear more about the origins of the Public Imagination Network, also known as PIN, in my March 28th, 2024 conversation with Shannon Litzenberger, e160 shannon litzenberger - a culture of collective thriving, of this podcast. This panel was co-hosted with Mass Culture - Mobilisation culturelle, which is an arts support organization that strives to harness the power of research to learn and generate new insights, enabling the arts community to be strategic, focused and adaptive. Mass Culture is led by Robin Sokoloski who was my guest on this podcast in episode 61 from 2021 and also will be my guest for a second conversation this summer so stay tuned for that. I suspect we will talk about… leadership, climate change, more than human beings and more.So what is cultural leadership? Shannon Litzenberger offered this definition during the conversation:I think about leadership as our ability to respond generatively to what a moment is asking of us in service of collective thriving. So it's got a lot of layers to it… It's about our ability to respond. What are we responding to? How are we attuning to a moment? Are we just seeing what we're conditioned to see? Are we attuned to what's in the foreground : the arrangements in the background that are producing the condition that we're inside of? And are our decisions, are our responses, are they in service of collective thriving? To me, this is the big moment of relational turn that leadership needs to understand. And I think this is a good point of departure with an emphasis on whether we are 'in tune' with this moment.To the organizers credit, this event was not a one-way conversation. The audience was invited to participate through a series of zoom chat storms. I had never done this before but it's basically when comments and questions are sent at once at the end of a series of presentations.It was quite overwhelming but a lot of fun to read such a rich array of options and responses all at once and you'll hear during the episode quotes from comments and responses from the conversationalists.You can also read the rich array of participant ‘chat' comments at the end of the episode notes below. To make this recording easier to access, I've divided it into 6 parts, each divided by a soundscape composition from 1998 of mine called Au dernier vivant les biens.00:00 conscient podcast introduction and context8:49 Evalyn Parry, Shannon Litzenberger and Devyani Saltzman introduction19:28 What do we need to hold onto and leave behind?28:54 Practices of leadership : what new leadership capacities will support a transition away from a corporate, hyper-industrialized system?45:10 Flux, turmoil and the role of institutions : how do we stay in an ethical relationship to a world in distress?54:55 Questions and comments from the audienceTo be honest my only critique of this conversation is that they did not speak directly about the climate emergency or the ecological crisis, which are the main areas of concern of this podcast however Evalyn Parry did note at the end of the session that we should have a separate session on this topic and interweave it into other conversations, which I believe is in the works. And I think it's good to have multiple and contrasting conversations about these complex issues - be it leadership, capacity, social justice, societal collapse and so on - because they are all interconnected and all require our attention but maybe not all at once. So what I retained most specifically from this conversation on cultural leadership is that the arts not only have the capacity to build bridges and help us make connections and relations, but the arts also provide a positive vision of other worlds, other ways of being, while offering a reality check about our changing world. And dialogue, as well as listening, within the arts sector and beyond, are key to moving forward, so I would like to thank the organizers, conversationalists and participants in this session for sharing their wisdom and passion and I hope to do this again soon. Note: An edited version of the chat from this session is available here.  Please note that participants in this session have consented to have this summary of the chat shared as part of this podcast episode. Please do not quote this material without the permission of the author. *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on June 7, 2024

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities?  Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focused on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, The Arab Nahda as Popular Entertainment: Mass Culture and Modernity in the Middle East (I. B. Tauris, 2023) heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did. Raphael Cormack is an assistant professor of Arabic at the Durham University. He was previously a visiting researcher at Columbia University in the City of New York and holds a PhD from the University of Edinburgh. His most recent publication was Midnight in Cairo: The Divas of Egypt's Roaring 20s (2021). He has also edited two collections of Arabic short stories translated into English, The Book of Khartoum and The Book of Cairo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities?  Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focused on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, The Arab Nahda as Popular Entertainment: Mass Culture and Modernity in the Middle East (I. B. Tauris, 2023) heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did. Raphael Cormack is an assistant professor of Arabic at the Durham University. He was previously a visiting researcher at Columbia University in the City of New York and holds a PhD from the University of Edinburgh. His most recent publication was Midnight in Cairo: The Divas of Egypt's Roaring 20s (2021). He has also edited two collections of Arabic short stories translated into English, The Book of Khartoum and The Book of Cairo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities?  Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focused on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, The Arab Nahda as Popular Entertainment: Mass Culture and Modernity in the Middle East (I. B. Tauris, 2023) heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did. Raphael Cormack is an assistant professor of Arabic at the Durham University. He was previously a visiting researcher at Columbia University in the City of New York and holds a PhD from the University of Edinburgh. His most recent publication was Midnight in Cairo: The Divas of Egypt's Roaring 20s (2021). He has also edited two collections of Arabic short stories translated into English, The Book of Khartoum and The Book of Cairo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/middle-eastern-studies

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities?  Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focused on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, The Arab Nahda as Popular Entertainment: Mass Culture and Modernity in the Middle East (I. B. Tauris, 2023) heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did. Raphael Cormack is an assistant professor of Arabic at the Durham University. He was previously a visiting researcher at Columbia University in the City of New York and holds a PhD from the University of Edinburgh. His most recent publication was Midnight in Cairo: The Divas of Egypt's Roaring 20s (2021). He has also edited two collections of Arabic short stories translated into English, The Book of Khartoum and The Book of Cairo. Learn more about your ad choices. Visit megaphone.fm/adchoices

What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities?  Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focused on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, The Arab Nahda as Popular Entertainment: Mass Culture and Modernity in the Middle East (I. B. Tauris, 2023) heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did. Raphael Cormack is an assistant professor of Arabic at the Durham University. He was previously a visiting researcher at Columbia University in the City of New York and holds a PhD from the University of Edinburgh. His most recent publication was Midnight in Cairo: The Divas of Egypt's Roaring 20s (2021). He has also edited two collections of Arabic short stories translated into English, The Book of Khartoum and The Book of Cairo. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

In the fall of 1958, Kenneth Tynan moved from London to New York and upon arrival, clashed with Hollywood mogul Samuel Goldwyn over socially engaged art and the politics of apolitical culture on live TV. At the same moment New Yorker writer Dwight Macdonald went West to report on “New” Hollywood's ambitions to create commercially and artistically successful films. We also meet two of Professor Macdonald's former students from a Mass Culture course he taught at Bard College in 1958. Meanwhile in France, Richard Wright suffers a number of disturbing attacks, prompting him to channel his frustrations into a revealing radio play. Shownotes: Tamara Walker is the author of Beyond the Shores, Hugh Wilford wrote The Mighty Wurlitzer, Tom Benjamin and Frances Hodes were both students of Dwight Macdonald at Bard College in 1958 and Dan Sinclair is the author of  Curteous Enemy. Support ToE and get access to the incredible exclusive bonus companion series to Not All Propaganda is Art by subscribing at https://theoryofeverything.supercast.com/, or subscribe directly in Apple Podcasts by hitting “Subscribe” right on the show page.

Matt and Gio are back as we dive into the News, David Foster Wallace, "Mass Culture" and more. Send Superchats via Entropy: https://entropystream.live/live/ThePrudentialist Find Giant Gio YouTube: https://www.youtube.com/c/GiantArtProductions Telegram: https://t.me/giantartproductions Twitter: https://twitter.com/giantgio Links: https://findmyfrens.net/gio/ Support the Channel: Subscribestar: https://www.subscribestar.com/the-prudentialist Buy Me a Coffee: https://www.buymeacoffee.com/prudentialist Substack: https://theprudentialist.substack.com/ Merch: https://mr-prudes-wares.creator-spring.com/ Links: https://findmyfrens.net/theprudentialist/

Eric Newman and Medaya Ocher are joined by writer and professor, Dan Sinykin. His new book is called Big Fiction: How Conglomeration Changed the Publishing Industry, which chronicles the many changes publishing has undergone in the past 50 years, starting in 1965 when Random House was bought by an electronics company. Since then we've seen the radical conglomoration of publishing, as small independent houses were bought up by multinational companies, slowly forming the Big Five. Dan writes about the way these changes affected the books we read — what editors buy, what readers expect, and even, what writers write. He covers everything from the rise of mass-market paperbacks to the establishment of prestigious non-profits, hoping to protect literature from the market. Also, Dorothea Lasky, whose new collection of poems is called The Shining, returns to recommend two books: Eileen by OIttessa Moshfegh and Hermetic Definition by H.D.

Why is Star Wars so popular? What were the material conditions that set the first film, A New Hope, up for success in 1977? What can a Marxist critique help us understand about the film?In this episode, Marcelle leads Hannah through a conversation about one of her favorite franchises by first taking a close look at George Lucas's politics and the state of Hollywood in the 1970s. Marcelle and Hannah then think through the movie's seemingly progressive narrative — and the way it's been co-opted by people of all political views. Pulling on the work of Theodor Adorno and Max Horkheimer, Marcelle offers a Marxist reading of the film's lasting legacy and asks: what is conservative about the film? How does the film work to undermine and/or reinforce the ideology of repressive state apparatuses?If you like our show, please share it with family and friends! Word-of-mouth is the primary way we reach new listeners who are interested in feminist materialist critique, pop culture and laughing at and from within *the discourse.* Share the show today!***Material Girls is a new show that aims to make sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.We'll be back in two weeks for another episode, but until then, be sure to check out all the bonus content we have on our Patreon at Patreon.com/ohwitchplease. You can learn more about the show at ohwitchplease.ca and on our instagram at instagram.com/ohwitchplease! Want more from us? Check out our website ohwitchplease.ca.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is really interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Why is Star Wars so popular? What were the material conditions that set the first film, A New Hope, up for success in 1977? What can a Marxist critique help us understand about the film?In this episode, Marcelle leads Hannah through a conversation about one of her favorite franchises by first taking a close look at George Lucas's politics and the state of Hollywood in the 1970s. Marcelle and Hannah then think through the movie's seemingly progressive narrative — and the way it's been co-opted by people of all political views. Pulling on the work of Theodor Adorno and Max Horkheimer, Marcelle offers a Marxist reading of the film's lasting legacy and asks: what is conservative about the film? How does the film work to undermine and/or reinforce the ideology of repressive state apparatuses?If you like our show, please share it with family and friends! Word-of-mouth is the primary way we reach new listeners who are interested in feminist materialist critique, pop culture and laughing at and from within *the discourse.* Share the show today!***Material Girls is a new show that aims to make sense of the zeitgeist through materialist critique* and critical theory! Each episode looks at a unique object of study (something popular now or from back in the day) and over the course of three distinct segments, Hannah and Marcelle apply their academic expertise to the topic at hand.We'll be back in two weeks for another episode, but until then, be sure to check out all the bonus content we have on our Patreon at Patreon.com/ohwitchplease. You can learn more about the show at ohwitchplease.ca and on our instagram at instagram.com/ohwitchplease! Want more from us? Check out our website ohwitchplease.ca.*Materialist Critique is, at its simplest possible level, a form of cultural critique – that is, scholarly engagement with a cultural text of some kind – that is interested in modes of production, moments of reception, and the historical and ideological contexts for both. Materialist critique is really interested in the question of why a particular cultural work or practice emerged at a particular moment. Music Credits:“Shopping Mall”: by Jay Arner and Jessica Delisle ©2020Used by permission. All rights reserved. As recorded by Auto Syndicate on the album “Bongo Dance”. Hosted on Acast. See acast.com/privacy for more information.

Frank Sinatra was one of the most successful recording artists of the twentieth century. He was also one of the controversial figures within American mass culture. From the earliest days of his ascent, rumors abounded with respect to his alleged connections to the criminal underworld. In Episode 24, Pettengill examines these connections that intersect American culture, even in a twenty-first century context. But WAS Sinatra connected? Did a Don, ANY DON, make Harry Cohn...or Tommy Dorsey an "offer they" couldn't refuse? The answers are complicated.

Tracy Floreani is Professor of English at Oklahoma City University where she teaches American literature and writing. She also serves as Director of the Center for Interpersonal Studies through Film and Literature, the university's public humanities initiative and is current President of MELUS, the Society for the Study of Multiethnic Literature of the U.S. She is the author of Fifties Ethnicities: The Ethnic Novel and Mass Culture at Midcentury (SUNY 2013), editor of the forthcoming Approaches to Teaching the Works of Ralph Ellison (MLA), and is currently working on a biography of Fanny McConnell Ellison. So grateful for all the listeners! Check the links below from charities, subscriptions, merch, reading list, and more. Love the show?You can now support the show with a subscription! Click here for all the details.**Want to write a review? Click here for details.** Donate Dachshund Rescue of Houston hereBlog https://tstakaishi.wixsite.com/musicInsta @creative_peacemeal_podcastFB @creativepeacemealpodBonfire Merch https://www.bonfire.com/store/creative-peacemeal/Redbubble Merch CPPodcast.redbubble.comCreative Peacemeal READING list here

Depoliticizing Corporate America, Restoring Virtuous Shared Values in Mass Culture, The Fallout from the SCOTUS Leak, and It's OK to Incite Violence on Twitter—Against the Right. With Josh Hammer, Ben Weingarten, Rachel Bovard, and Emily Jashinsky.   The NatCon Squad is produced by the Edmund Burke Foundation and White House Writers Group.   Follow us on Twitter: @NatConTalk For more information visit our website: nationalconservatism.org

Before we get to Social Justice, however, we need to go to the place from where Social Justice, a blanket term to cover a variety of Critical Theory Tenets, hails. The Frankfurt School or the Institute for Social Research was founded shortly after WWI in 1923 and was largely influenced by the works of Sigmund Freud, Karl Marx, George Hegel and other Atheistic Philosophers of the 19th Century. Max Horkheimer, Theodor Adorno, and Herbert Marcuse were three of the leading minds, among others in the Frankfurt School. They believed that: “Mass Culture (and subsequently, what we know today as Popular Culture) should, according to them, be rescued from the stigma of crude banality into a valuable and worthy expression of real world experience.” They set about the task of reevaluating Marx's theory that Capitalist Society would collapse and a Communistic Revolution would take its place in a new utopia. Upon the failure of Marx's prediction, the Frankfurt School folks, started to rebrand the movement with Legal Theory, Critical Race Theory, Gender Theory, and Post-Colonialism. But before we get to them, let's remind ourselves who these Frankfurt School folks idolized and what they're teachers thought. Freud was of the opinion that God's Plan for sexuality was restrictive in his book “Civilization and It's Discontents”. Karl Marx hypothesized that Work was inherently exploitative of the workers, and those who had money to hire people were inherently evil, or at least at odds with those who had to work. (Now, Marx's mother has been quoted saying: “If only Karl had made capital instead of writing about it!") It's difficult to not succumb to ad hominem here, but Marx was also a racist with the Hispanic, Jew, and African below his nose. In a quote from a Panama City News Herald article compiling Marx's unsavory remarks he is quotes as such: “When the U.S. annexed California after the Mexican-American War, Marx wrote: "Without violence nothing is ever accomplished in history." Then he asked, "Is it a misfortune that magnificent California was seized from the lazy Mexicans who did not know what to do with it?" Friedrich Engels added: "In America we have witnessed the conquest of Mexico and have rejoiced at it. It is to the interest of its own development that Mexico will be placed under the tutelage of the United States." Many of Marx's racist ideas were reported in "Karl Marx, Racist" a book written by Nathaniel Weyl, a former member of the U.S. Communist Party. In 1887, Paul Lafargue, who was Marx's son-in-law, was a candidate for a council seat in a Paris district that contained a zoo. Engels claimed that Paul had "one eighth or one twelfth nigger blood." In an April 1887 letter to Paul's wife, Engels wrote, "Being in his quality as a nigger, a degree nearer to the rest of the animal kingdom than the rest of us, he is undoubtedly the most appropriate representative of that district." Marx's anti-Semitic views were no secret. In 1844, he published an essay titled "On the Jewish Question." He wrote that the worldly religion of Jews was "huckstering" and that the Jew's god was "money." Marx's view of Jews was that they could only become an emancipated ethnicity or culture when they no longer exist. Just one step short of calling for genocide, Marx said, "The classes and the races, too weak to master the new conditions of life, must give way." Marx's philosophical successors shared ugly thoughts on blacks and other minorities. Che Guevara, a hero of the left, was a horrific racist. He wrote in his 1952 memoir, "The Motorcycle Diaries": "The Negro is indolent and lazy and spends his money on frivolities, whereas the European is forward-looking, organized and intelligent."” So, ad hominem is not inherently off the table when the fruit of the tree continues to remain poisonous. From the Black Book of Communism, we read that 94 million Communist Citizens were killed in the 20th century by Communistic Governance. 65 million in the People's Republic of China 20 million in the Soviet Union 2 million in Cambodia 2 million in North Korea 1.7 million in Africa 1.5 million in Afghanistan 1 million in the Communist states of Eastern Europe 1 million in Vietnam 150,000 in Latin America 10,000 deaths “resulting from actions of the international Communist movement and Communist parties not in power.” And the other 19th century thinkers that the Frankfurt School drew from were similarly flawed men without the guiding light of scripture to reprove and correct the fallacies erected within their own rationale. But this is not an essay on Marxism or Freudism, but a critique on Critical Theory. However, recurring themes will be playing out among those who subscribe to the Cultural, Philosophical, and Theological premises that we have already discussed. Critical Theory, much like Freudian Sociology and Marxist Political and Economic Theory, does exactly what its name suggests that it does, it critiques. Critiques what, you may ask: Western Culture and we will see Judeo-Christianity. What really ground the gears of these Frankfurt School Philosophers was that the media and prosperity had supposedly hypnotized the masses into not realizing that they were actually oppressed. “The Consumers are the workers and the employees, the farmers and lower middle class. Capitalist production so confines them, body and soul, that they fall helpless victims to what is offered them. As naturally as the ruled always took the morality imposed upon them more seriously than did the rulers themselves, the deceived masses are today captivated by the myth of success even more than the successful are. Immovably they insist on the very ideology which enslaves them. The misplaced love of the common people for the wrong which is done them, is a greater force than the cunning of the authorities. (Adorno and Horheimer 1973, Pg. 133/144) “Our Humanist ideas will only work if they will just let us try to enslave them again.” These are the Germans, need I remind you. Now, many of the Frankfurt School fled Germany because of their Jewish heritage, but their Atheistic ideology was ultimately incubated in the same stew that Marx, as we've established as a rabid anti-semite, Freud, and the eugenics movement that sought to sterilize the Jews from the face of the Earth. These are the people who we allowed into the universities in the 1960s and 1970s. These socialists and communists simply redesigned their ideology as they saw the colossal failures of Germany, Italy, Russia, China, and everywhere else their Humanist agenda was attempted. This ultimately comes from a rejection of God's standards in substitution for Human reason alone. Reason is a critical part of the Christian Faith, but without the temperance of God's Justice and Moral Law, Human Reason always ends in injustice. https://m.theepochtimes.com/c-how-the-specter-of-communism-is-ruling-our-world https://www.newsherald.com/story/opinion/2020/08/16/many-marxists-dont-realize-their-hero-racist-and-anti-semite/3369024001/ https://www.bbc.co.uk/worldservice/learningenglish/movingwords/quotefeature/marx.shtml https://en.wikipedia.org/wiki/Frankfurt_School https://en.wikipedia.org/wiki/Sigmund_Freud https://www.britannica.com/biography/Sigmund-Freud/Sexuality-and-development https://asavalas.medium.com/freud-and-the-injustices-of-societal-sexual-repression-398c76303e99

Dr Neil Ketchley in conversation with Professor Walter Armbrust about his current research. The post-WWII era saw coups and “revolutions from above” break out across the Middle East and North Africa. How did these events transform colonial-era state elites? We theorize that post-colonial regimes had to choose between purging perceived opponents and delivering key state functions, leading to important variation in individual turnover and survival. To illustrate our argument, we trace the careers of 674 colonial-era ministers and civil servants in Egypt following the 1952 Revolution. Our analysis shows that individuals connected to Egypt's deposed monarch, very senior officials, and those with military backgrounds were more likely to be purged. Experienced officials and those with advanced university degrees were more likely to be retained. Residual workplace effects suggest that the logics of purging threats and retaining experienced officials also operated at the institutional level. The findings point to important instances of elite-level continuity during episodes of radical political change. Dr Neil Ketchley is Associate Professor in Politics in the Department of Politics and International Relations, the Oxford School of Global and Area Studies, and a Fellow of St Antony's College. He is a political scientist of the Arabic-speaking Middle East and North Africa working at the intersections of political sociology and comparative politics. Neil's book, Egypt in a Time of Revolution (Cambridge University Press, 2017), won the Charles Tilly Distinguished Contribution to Scholarship Award. His current research interests include episodes of mass protest in the MENA, the rise of political Islam in interwar Egypt, and the changing profiles of regional political elites. Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Additional contributor, Mr Gilad Wenig, PhD student, UCLA.

In this episode, David Priess talks with professor and author Marita Sturken about 9/11-related memorials, museums, and architecture. Her research and writings have examined everything from visual culture to the connection between memory and consumerism, with much of her recent work addressing memory of the attacks on September 11, 2001 as both the battleground and the site for negotiations of national identity.In this conversation, they talk briefly about various historical memorials and the purposes of such work before comparing and contrasting some of the 9/11 memorials around the country and those at Ground Zero, next to the Pentagon, and in Somerset County, Pennsylvania. They also discuss controversies surrounding the National September 11 Memorial Museum (commonly called the "9/11 museum"), including those about its gift shop and the human remains currently stored in the facility.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad. Among the works cited in this episode are:Memorials, Museums, and related sites:The National 9/11 Pentagon MemorialFlight 93 National MemorialThe National September 9/11 Memorial and MuseumWorld Trade Center OculusEmpty Sky Memorial in Jersey City, New JerseyReflect 9/11 memorial in Rosemead, CaliforniaVietnam Veterans MemorialThe Korean War Veterans MemorialWWII MemorialFranklin Delano Roosevelt MemorialMartin Luther King, Jr. MemorialDwight D. Eisenhower MemorialBooks:Terrorism in American Memory: Memorials, Museums, and Architecture in the Post-9/11 Era, by Marita SturkenTourists of History: Memory, Kitsch, and Consumerism from Oklahoma City to Ground Zero, by Marita SturkenTangled Memories: The Vietnam War, the AIDS Epidemic, and the Politics of Remembering, by Marita SturkenProsthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture, by Alison Landsberg Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

'I'm interested in what we can do to both mitigate the climate emergency and adapt to it but there's another level which is revisioning the world and maybe that's the one that's most interesting, because unfortunately it's going to be rough for the foreseeable future on earth, but life will go on, with or without humans. I think humans have a place in it, but then we have to figure out how we're going to live with much, much less resources and all the damage that's been done and have a positive view of that. So rethinking and reauthoring the world. David Maggs wrote a really interesting paper about that. There was a paper recently by a Nigerian writer, Ben Okri. I'll put the link in the chat. He talked about how artists must confront the climate crisis and that we must write as if these are our last days. That's where I'm at.'Claude Schryer, November 2021Robin Sokoloski and Janis Monture teach a class in Art Policy, Equity and Activism at Centennial College in Toronto and asked me to be guest speaker on the issue of art and activism on November 23, 2021. The class kindly agreed to have the class recorded as episode 86 of this podcast. I've known Robin from many years in her role with Mass Culture and more recently as a co-founder of the Sectoral Climate Arts Leadership for the Emergency (SCALE) network. Robin was also my guest on episode 61 of this podcast. I met Janis many years ago back when I ran the Inter-Arts Office at Canada Council for the Arts in her role with the Woodland Cultural Centre.Before the class Robin suggested I read this article : Assessing the Impact of Artistic Activism, which I recommend to anyone interested in art and activism. The conversation took place in ‘interview' style. Robin asked me four questions: What is the arts role in activism when it comes to positive social good?Can art affect policy? Is there an example you can think of?What role can arts funders play when it comes to art and activism?Share your current interest in art activism. What possibilities do you see within the arts or general public that encourage you to continue this work?My answers, as well as my interaction with students, are in the recording. This episode also includes excerpts from e40 frasz, e82 washable paint, e05 carruthers, e73 judith marcuse – finding the energy to keep moving and e85 tracey friesen – narratives of resilience for a post carbon world.Links referred to in this episode:Artists must confront the climate crisis – we must write as if these are the last days'Canada Council 21-26 Strategic PlanClimate Art WebSCALE-LeSAUTThe times are urgent; let us slow downSome of the arts policy, equity and activism class at centennial college on november 23, 2021 *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

Oil price volatility and accelerated energy transitions away from hydrocarbons to meet climate change mitigation measures have presented existential threats to the economies of hydrocarbon-dependent welfare states of the Gulf Cooperation Council (GCC). These state rely on oil and gas not only in their exports to fund welfare distributive measures, but also domestically for highly-subsidized energy and water consumption. In response, each GCC state announced economic development plans presented as avant-garde “Visions”—one tailored to each of the six GCC states— reflecting a future target of transformation away from oil and gas through energy and economic diversification and reform. In a fundamental policy shift, GCC states implemented energy subsidy reform following the 2014 oil price declines, with varying degrees of success. In another fundamental policy shift in October 2020, in preparation for COP26 in Glasgow, the UAE, Saudi Arabia, and Bahrain pledged to reach net-zero emissions by 2050 or 2060. Beyond the economic pressures, GCC states also face environmental challenges owing to their highly subsidized energy and water consumption and emissions in an already-constrained environment owing to climate change. This talk summarizes the state of the environment in the Gulf states and examines the role of the environment in the economic and energy diversification plans of their Visions. It argues that the environment has had a limited role in the Visions, despite the state of the environment in the region, offering a striking difference with other regions. The talk concludes with implications on the region's long-term sustainability and success of proposed reforms. MEC Friday Webinar. This is a recording of a live webinar held on 5th November 2021 for the MEC Friday Seminar Michaelmas Term 2021 series on the overall theme of The Environment and The Middle East. Dr Manal Shehabi (Academic Visitor, St. Antony's College, University of Oxford; and Senior Research Fellow, Oxford Institute for Energy Studies) presents “Environment Discounted: Energy and Economic Diversification Plans in the Gulf”. Professor Walter Armbrust (St Antony's College, Oxford) chairs this webinar, and Dr Michael Willis is the Q&A Moderator. The combination of oil price volatility and the accelerated energy transitions away from hydrocarbons to meet climate change mitigation measures have presented existential threats to the economies of hydrocarbon-dependent welfare states of the Gulf Cooperation Council (GCC). These state rely on oil and gas not only in their exports to fund welfare distributive measures, but also domestically for highly-subsidized energy and water consumption. In response, each GCC state announced economic development plans presented as avant-garde “Visions”—one tailored to each of the six GCC states— reflecting a future target of transformation away from oil and gas through energy and economic diversification and reform. In a fundamental policy shift, GCC states implemented energy subsidy reform following the 2014 oil price declines, with varying degrees of success. In another fundamental policy shift in October 2020, in preparation for COP26 in Glasgow, the UAE, Saudi Arabia, and Bahrain pledged to reach net-zero emissions by 2050 or 2060. Beyond the economic pressures, GCC states also face environmental challenges owing to their highly subsidized energy and water consumption and emissions in an already-constrained environment owing to climate change. This talk summarizes the state of the environment in the Gulf states and examines the role of the environment in the economic and energy diversification plans of their Visions. It argues that the environment has had a limited role in the Visions, despite the state of the environment in the region, offering a striking difference with other regions. The talk concludes with implications on the region's long-term sustainability and success of proposed reforms. Dr Manal Shehabi is an applied economist with expertise in economic, energy, resource sustainability & policy making in resource-dependent economies, focusing on the Middle East and Gulf regions. She publishes in academic journals, books, and policy reports. Using economy-wide modeling and political economy, her research made important contributions to the analysis of economic and energy diversification, economic adjustments, decarbonization and hydrogen, and policy alternatives in Gulf hydrocarbon economies following the energy transition and oil price volatility. Her research also impacted policy making, for example she constructed an economic model for policymaking in Kuwait, led or co-authored various policy reports (such as to the UNFCCC, KISR, the IPCC, and G20's T20 Italy), and conducted capacity building for economic and climate policymakers in Gulf countries and beyond. A polyglot, regularly advises policymakers & firms. Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Dr Michael J. Willis is Director of the Middle East Centre at St Antony's College, University of Oxford and King Mohammed VI Fellow in Moroccan and Mediterranean Studies. His research interests focus on the politics, modern history and international relations of the central Maghreb states (Algeria, Tunisia and Morocco). He is the author of Politics and Power in the Maghreb: Algeria, Tunisia and Morocco from Independence to the Arab Spring (Hurst and Oxford University Press, 2012) and The Islamist Challenge in Algeria: A Political History (Ithaca and New York University Press, 1997) and co-editor of Civil Resistance in the Arab Spring: Triumphs and Disasters (Oxford University Press, 2015). If you would like to join the live audience during this term's webinar series, you can sign up to receive our MEC weekly newsletter or browse the MEC webpages. The newsletter includes registration details for each week's webinar. Please contact mec@sant.ox.ac.uk to register for the newsletter or follow us on Twitter @OxfordMEC. Accessibility features of this video playlist are available through the University of Oxford Middle East Centre podcast series: http://podcasts.ox.ac.uk/series/middle-east-centre

This is a recording of a live webinar held on 29th October 2021 for the MEC Friday Seminar Michaelmas Term 2021 series on the overall theme of The Environment and The Middle East. Dr Jamie Furniss (Institut de recherche sur le Maghreb contemporain (Tunis) / Department of Social Anthropology, University of Edinburgh) presents: The blue-clad fennec: authoritarian environmentalism in Tunisia, and its afterlives. Professor Walter Armbrust (St Antony's College, Oxford) chairs this webinar, including the Q&A session. There is hardly a city in the whole of Tunisia without a faded sign reading “Boulevard de l'environnement” (Shari‘ al-bi'a) on one of its most prominent thoroughfares. If it hasn't fallen over from neglect or been removed—for example by angry protesters or as a sort of nostalgic and kitsch lawn ornament—one may find a statue of desert fox (Fennec) in a blue jumpsuit, minus a few limbs, standing at the end of the avenue. These are the traces of the authoritarian environmentalism of Ben Ali's Tunisia, the forms and afterlives of which this paper seeks to sketch. I begin by arguing that environment emerged as a category of political action in 1990s Tunisia largely as a way of papering over the totalitarian state by appealing to strategic hot-button issues in the eyes of the “West” (like women's rights), as well as an attempt at aesthetic and moral discipline. I then evoke some of the consequences this genealogy has on the ways “environment” is used and understood in Tunisia today. What exactly does “environment” refer to in Tunisia is both a necessary contextual backdrop to this paper and a question that emerges from the political and social history I aim to examine. From some examples such as analysis of the Arabic terms (bi'a vs. muhit), the discourse in public signage pertaining to waste, the creation in 2017 of Tunisia's “environmental police” and participant observation I have conducted on civil society “environmental” projects, I attempt to demonstrate that environment is a concept characterized by visuality and proximity. This makes garbage and in particular its visual accumulation in public space a kind of archetypal “environmental problem”. The rapid political telescoping of waste into issues of corruption (e.g. during the “Italian waste scandal”) as well as the use of cleanup as a political idiom (e.g. during the halit wa‘I movement following Kais Said's election as president) are indices of ongoing political overtones of the issues of waste, cleanliness, and environment more broadly, in contemporary Tunisia. Dr Jamie Furniss is currently a researcher at the Institut de recherche sur le Maghreb contemporain in Tunis, on leave from a position as a lecturer in Social Anthropology at the University of Edinburgh. He has a DPhil from the University of Oxford in International Development and has conducted fieldwork in Egypt and Tunisia, primarily on topics pertaining to environment, waste, and urban development. Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). If you would like to join the live audience during this term's webinar series, you can sign up to receive our MEC weekly newsletter or browse the MEC webpages. The newsletter includes registration details for each week's webinar. Please contact mec@sant.ox.ac.uk to register for the newsletter or follow us on Twitter @OxfordMEC. Accessibility features of this video playlist are available through the University of Oxford Middle East Centre podcast series: http://podcasts.ox.ac.uk/series/middle-east-centre

Strap on your headsets! OK, Lucia and Sarah sit around the ol vr hot tub with you, the faceless facebook mii we serve. This week we wanna tell you the good news! about our RPS fic featuring your favorite fuzzy childhood Nu Metal Queer Icons, the intersection between Bushwick Nationalism and Operation Paperclip, and yes, … Continue reading "143 – Fred Durst, Queer Icon"

Strap on your headsets! OK, Lucia and Sarah sit around the ol vr hot tub with you, the faceless facebook mii we serve. This week we wanna tell you the good news! about our RPS fic featuring your favorite fuzzy childhood Nu Metal Queer Icons, the intersection between Bushwick Nationalism and Operation Paperclip, and yes, … Continue reading "143 – Fred Durst, Queer Icon"

MEC Friday Webinar. This is a recording of a live webinar held on 15th October 2021 for the first episode of the MEC Friday Seminar Michaelmas Term 2021 series on the overall theme of The Environment and The Middle East. MEC Friday Webinar. This is a recording of a live webinar held on 15th October 2021 for the first episode of the MEC Friday Seminar Michaelmas Term 2021 series on the overall theme of The Environment and The Middle East. Oxford academics Dr Michael Willis, Professor Walter Armbrust, Dr Laurent Mignon and Dr Usaama al-Azami reflect upon how issues of the Environment relate to their own research. Dr Michael J. Willis is Director of the Middle East Centre at St Antony's College, University of Oxford and King Mohammed VI Fellow in Moroccan and Mediterranean Studies. His research interests focus on the politics, modern history and international relations of the central Maghreb states (Algeria, Tunisia and Morocco). He is the author of Politics and Power in the Maghreb: Algeria, Tunisia and Morocco from Independence to the Arab Spring (Hurst and Oxford University Press, 2012) and The Islamist Challenge in Algeria: A Political History (Ithaca and New York University Press, 1997) and co-editor of Civil Resistance in the Arab Spring: Triumphs and Disasters (Oxford University Press, 2015). Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Dr Laurent Mignon is Associate Professor of Turkish language and literature at the University of Oxford, a Fellow of St Antony's College and Affiliate Professor at the Luxembourg School of Religion and Society. His research focuses on the minor literatures of Ottoman and Republican Turkey, in particular Jewish literatures, as well as the literary engagement with non-Abrahamic religions during the era straddling the Ottoman Empire and the Turkish Republic. In March and April 2019, he was invited as Visiting Professor at the École des hautes études en sciences sociales in Paris. He is an Associate Member of the Centre de Recherche Europes-Eurasie at INALCO, Paris. His newest publications are: Uncoupling Language and Religion: An Exploration into the Margins of Turkish Literature, Boston: Academic Studies Press, 2021. https://www.academicstudiespress.com/ottomanandturkishstudies/uncoupling-language-and-religion Alberto Ambrosio and Laurent Mignon (ed.), Penser l'islam en Europe: Perspectives du Luxembourg et d'ailleurs, Paris: Hermann, 2021. https://www.editions-hermann.fr/livre/9791037005472 Dr Usaama al-Azami is Departmental Lecturer in Contemporary Islamic Studies at the University of Oxford. He read his BA in Arabic and Islamic Studies at the University of Oxford and his MA and PhD in Near Eastern Studies at Princeton University. Alongside his university career, he also pursued Islamic studies in seminarial settings in which he has also subsequently taught. He has travelled extensively throughout the Middle East, living for five years in the region. Usaama al-Azami is primarily interested in the interaction between Islam and modernity with a special interest in modern developments in Islamic political thought. His latest book, Islam and the Arab Revolutions: Ulama Between Democracy and Autocracy (Hurst Publishers, October 2021; Oxford University Press, USA, forthcoming 2022) looks at the way in which influential Islamic scholars responded to the Arab uprisings of 2011 through 2013. His broader interests extend to a range of disciplines from the Islamic scholarly tradition from the earliest period of Islam down to the present. If you would like to join the live audience during this term's webinar series, you can sign up to receive our MEC weekly newsletter or browse the MEC webpages. The newsletter includes registration details for each week's webinar. Please contact mec@sant.ox.ac.uk to register for the newsletter or follow us on Twitter @OxfordMEC.

Join us for Booktalk Episode 9, Professor Deborah Starr (Cornell University) in conversation about her new book, Togo Mizrahi and the Making of Egyptian Cinema, published by California Press. Professor Walter Armbrust (St Antony's College, Oxford) chairs the discussion. Extract from publisher's website: In this book, Deborah Starr recuperates the work of Togo Mizrahi, a pioneer of Egyptian cinema. Mizrahi, an Egyptian Jew with Italian nationality, established himself as a prolific director of popular comedies and musicals in the 1930s and 1940s. As a studio owner and producer, Mizrahi promoted the idea that developing a local cinema industry was a project of national importance. Togo Mizrahi and the Making of Egyptian Cinema integrates film analysis with film history to tease out the cultural and political implications of Mizrahi's work. His movies, Starr argues, subvert dominant notions of race, gender, and nationality through their playful—and queer—use of masquerade and mistaken identity. Taken together, Mizrahi's films offer a hopeful vision of a pluralist Egypt. By re-evaluating Mizrahi's contributions to Egyptian culture, Starr challenges readers to reconsider the debates over who is Egyptian and what constitutes national cinema. Deborah Starr is a professor of Near Eastern Studies and director of the Jewish Studies Program at Cornell University. She writes and teaches about issues of identity and inter-communal exchange in Middle Eastern literature and film, with a focus on the Jews of Egypt. She is the author of Remembering Cosmopolitan Egypt: Literature, Culture, and Empire (Routledge 2009), and co-editor with Sasson Somekh of Mongrels or Marvels: The Levantine Writings of Jacqueline Shohet Kahanoff. Her new book Togo Mizrahi and The Making of Egyptian Cinema (University of California Press, 2020) recuperates the work of a Jewish a pioneer of Egyptian cinema. Starr has also published articles in a variety of journals on cosmopolitanism and levantinism in modern Arabic and Hebrew literature and Egyptian cinema Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Join us for our MEC live webinars – registration essential; details available from Middle East Centre Events, St Antony's College or subscribe to our weekly e-mailing newsletter by emailing mec@sant.ox.ac.uk and follow us on Twitter @OxfordMEC Speakers: Professor Deborah Starr (Cornell University) Chair: Professor Walter Armbrust (St Antony's College, Oxford)

Join us for Booktalk Episode 8, Dr Carl Rommel (University of Helsinki) in conversation about his new book Egypt's Football Revolution: Emotion, Masculinity, and Uneasy Politics, published by University of Texas Press in July 2021. Professor Walter Armbrust (St Antony's College, Oxford) chairs the discussion. The book is available for purchase for customers in Europe and the Middle East from https://www.combinedacademic.co.uk/9781477323175/egypts-football-revolution/, quote CSFS2021 at check-out for 30% discount; and for customers in the US, https://utpress.utexas.edu/books/rommel-egypts-football-revolution, quote UTROMEGY at check-out for 20% discount. This video is also available with accessibility features as a podcast at http://podcasts.ox.ac.uk/series/middle-east-centre-booktalk Extract from publisher's website: Both a symbol of the Mubarak government's power and a component in its construction of national identity, football served as fertile ground for Egyptians to confront the regime's overthrow during the 2011 revolution. With the help of the state, appreciation for football in Egypt peaked in the late 2000s. Yet after Mubarak fell, fans questioned their previous support, calling for a reformed football for a new, post revolutionary nation. In Egypt's Football Revolution, Carl Rommel examines the politics of football as a space for ordinary Egyptians and state forces to negotiate a masculine Egyptian chauvinism. Basing his discussion on several years of fieldwork with fans, players, journalists, and coaches, he investigates the increasing attention paid to football during the Mubarak era; its demise with the 2011 uprisings and 2012 Port Said massacre, which left seventy-two fans dead; and its recent rehabilitation. Cairo's highly organized and dedicated Ultras fans became a key revolutionary force through their anti regime activism, challenging earlier styles of fandom and making visible entrenched ties between sport and politics. As the appeal of football burst, alternative conceptions of masculinity, emotion, and politics came to the fore to demand or prevent revolution and reform. Dr Carl Rommel is a social anthropologist, who earned his PhD from SOAS, University of London (2015). His doctoral research explored the emotional politics of Egyptian football before and after the January 2011 Revolution. Currently, Dr Rommel is a postdoctoral research affiliate in the ERC-funded Crosslocations project at the University of Helsinki. He also teaches anthropology at Stockholm University. His ongoing field research in Cairo interrogates intersections between precarity, masculinity, temporality and urban space in, around and through a variety of large and small ‘projects' (mashari‘). Dr Rommel's research has been published in Critical African Studies, Middle East – Topics & Arguments, and Men and Masculinities. Other key article publications by Carl Rommel are: - Rommel, Carl (2018) “Men in time: On masculine productivity, corruption and youth football in the aftermath of the 2011 Egyptian Revolution” Men and Masculinities, 21(3), 341-362, DOI: 10.1177/1097184X17748173. - Rommel, Carl (2016) “Troublesome Thugs or Respectable Rebels: Class, martyrdom and Cairo's revolutionary Ultras” Middle East – Topics & Arguments, 6, 33-42, DOI: http://dx.doi.org/10.17192/meta.2016.6.3788. - Rommel, Carl (2014) “A Veritable Game of the Nation: On the changing status of football within the Egyptian national formation in the wake of the 2009 World Cup qualifiers against Algeria” Critical African Studies, 6(2-3), 157-175, DOI: 10.1080/21681392.2014.936079. - Rommel, Carl (2011) “Playing with difference: Football as a performative space for division among Suryoye migrants in Sweden” Soccer & Society, 12(6), 850-864, DOI: 10.1080/14660970.2011.609684. Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Join us for our MEC live webinars – registration essential; details available from Middle East Centre Events | St Antony's College (ox.ac.uk) or subscribe to our weekly e-mailing newsletter by emailing mec@sant.ox.ac.uk or follow us on Twitter @OxfordMEC Middle East Centre, St Antony's College, University of Oxford Middle East Centre | St Antony's College (ox.ac.uk) https://www.sant.ox.ac.uk/research-centres/middle-east-centre

In a week where: Britney Spears' father Jamie to step down as her conservator after 13 years and a series of court battles this summer. Five people in Plymouth die from a mass shooting. Over 1,000 die after Haiti is hit with a 7.2 magnitude earthquake. Afghanistan's capital Kabul is taken over by The Taliban; president Ashraf Ghani flees to Tajikistan. RIP comedian Sean Lock, aged 58. In an All-Life show, we begin with (6:46) the recent results of the US Census and how demography can be used for good and bad.In the 2nd segment: (21:17) We are all aware of TikTok now. In the space of a couple of years, it's become ubiquitous on social media. But is that a good thing? (Of course, it fu**ing isn't...)In the 3rd segment: (36:11) Online activism has become some form of a necessary evil. Whilst it gives people the opportunity to raise awareness consistently, it also bears negatives such as bombardment & subsequently, emotional burnout.Lastly: (53:43) Culture is an ever-present thing but some people seem to think it's rigid. And because people think this, it causes friction between them and culture itself, which is constantly fluctuating. Thank you for listening! If you want to contribute to the show, whether it be sending me questions or voicing your opinion in any way, peep the contact links below and I'll respond accordingly. Let me know "What's Good?"Rate & ReviewE-Mail: the5thelelmentpub@gmail.comTwitter & IG: @5thElement_UK5E Community DiscordWebsite: www.the5thelement.org.ukIntro Music - "Too Much" By VanillaInterlude - "Charismatic" By NappyHighChillHop MusicOther Podcasts Under The 5EPN:Diggin' In The Digits5EPN RadioBlack Women Watch...In Search of SauceThe Beauty Of Independence

I think that there needs to be greater capacity within the art sector for research to action. When I say that the art sector itself needs to be driving policy. We need to have the tools, the understanding, the training, the connections to truly impact policy and one thing that Mass Culture is really focused on at the moment is how do we first engage the sector in what are the research priorities and what needs to be investigated together and what that process looks like, but then how do you then take that research create it so that it drives change.robin sokoloski, conscient podcast, june 29, 2021, torontoRobin Sokoloski (she/her) is very active in the Canadian arts and culture sector. Currently, she is the Director of Organizational Development of Mass Culture – Mobilisation culturelle, Robin is working with academics, funders and arts practitioners to support a thriving arts community by mobilizing the creation, amplification and community informed analysis of research. For 10+ years, Robin was the Executive Director of Playwrights Guild of Canada (PGC). During her time there she launched the Canadian Play Outlet (a bookstore dedicated entirely to Canadian Plays), fostered a growing national awards program for playwrights, the Tom Hendry Awards, and led major changes within the organization. Robin remains committed to Canada's arts and culture scene by volunteering for various arts organizations as a way of staying connected to the local arts community and ensuring public access to artistic experiences. I first met Robin Sokoloski at a national arts service organization meeting in Ottawa and as a representative of Mass Culture. As of April 2021, we worked together on the coordinating committee of the Sectoral Climate Arts Leadership for the Emergency (SCALE). Two quotes caught my attention during our conversation:  Creative Solution MakingI'm very curious to see what the arts can do to convene us as a society around particular areas of challenges and interests that we're all feeling and needing to face. I think it's about bringing the art into a frame where we could potentially provide a greater sense of creative solution making instead of how we are sometimes viewed, which is art on walls or on stages. I think there's much more potential than that to engage the arts in society.Organizational StructuresWe do have the power as human beings to change human systems and so I think I'm very curious of working with people who are like-minded and who want to operate differently. I often use the organizational structure as an example of that because it is, as we all know is not a perfect model. We complain about it often and yet we always default to it. How can we come together, organize and, and bring ideas to life in different ways by changing that current system, make it more equitable, make it more inclusive, find ways of bringing people in and not necessarily having them commit, but have them come touch and go when they need to and I feel as though there'll be a more range of ideas brought to the table and just a more enriching experience and being able to bring solutions into reality by thinking of how our structures are set up and how we could do those things differently.As I have done in all episodes in season 2 so far, I have integrated excerpts from soundscape compositions and quotations drawn from e19 reality, as well as moments of silence and new soundscape recordings, in this episode.I would like to thank Robin for taking the time to speak with me, for sharing her deep knowledge of cultural policy, her passion for research, her spirit of generosity and her ability to walk her talk on organizational change. For more information on Robin's work, see https://www.linkedin.com/in/robinsokoloski/  and Mass Culture.  *END NOTES FOR ALL EPISODESHere is a link for more information on season 5. Please note that, in parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays for those frightened by the ecological crisis'. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.Also. please note that a complete transcript of conscient podcast and balado conscient episodes from season 1 to 4 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.Your feedback is always welcome at claude@conscient.ca and/or on conscient podcast social media: Facebook, X, Instagram or Linkedin. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible. Claude SchryerLatest update on April 2, 2024

The captivity of Man to seduce with the idea of “Myth” and mental activities of conquering the unknown has proposed Man, himself the Will to Believe, to unleash in the shackles of human impunity and mortal limitations of his own nature.  Today, we re-examine the necessities of “Myths'' as a way of social learning as rational individuals the lessons and values we can learn and teach others in order to avoid the perils of blind veneration and dogmatic worshipping so inclined in normative institutions like the Church or Mass Culture, thus it is ethical to examine, as Ramil Gabriel argues, the contemporary mythos of Psychology in the age of dialectic “Modernity” through materialistic desires of the secular man losing his respectable fashion and befallen to Nihilism. It is important to remind ourselves of the Universal Story of Myths, not as mere conceptual terms, but as a narrative rooted within the collective psyche as illustrated by Joseph Campbell's Archetypes. Let's join Alex-Jason in this wonderful episode of Higher Density Living as they discuss Critical Anthropology. www.higherdensityliving.com

SummaryKate and Tom are delighted to have Kenji Maeda on the podcast. Kenji is—among many things—the Executive Director of the Greater Vancouver Professional Theatre Alliance (GVPTA). He shares about the systemic issues he's passionate about, from shared leadership models to having more diverse voices in arts organizations and unpacks the unpack report and how arts organization and artists in BC are feeling about the state of the industry as well as the challenges facing the industry. About Kenji MaedaKenji’s experiences are diverse and grounded in his passion for the arts, education, and building community, and influenced by his Uchinanchu heritage. He is currently the Executive Director of the Greater Vancouver Professional Theatre Alliance; artsvest B.C. Program Manager for Business / Arts; lecturer for Simon Fraser University's Thriving as a Cultural Entrepreneur course; and an arts and culture consultant working and living on the unceded territories of the Musqueam, Squamish, and Tsleil-Waututh Nations. Kenji currently sits on the board of Mass Culture, a national organization which uses the power of research to learn and enable the arts and culture community to be strategic and adaptive. He is a Jessie Richardson Theatre Award recipient, and an alum of the Banff Centre's Cultural Leadership Program.ResourcesGVPTAartsvest BCMass CultureKoto: The Last Service on DOXAGVPTA COVID-19 Impact Report: Spring 2021

Join us as we listen to Dr Chihab El Khachab (King's College, Cambridge) in conversation about his new book – Making Film in Egypt: How Labor, Technology, and Mediation Shape the Industry. Published by American University in Cairo Press. Professor Walter Armbrust (St Antony's College, Oxford) chairs the discussion. The book is available for purchase from the book distributors of the publisher, email: IPSUK.orders@ingramcontent.com and quote discount code AUCPRESS20 for your 20% discount. Offer available until 31st July 2021. Chihab El Khachab is a British Academy Postdoctoral Fellow at the Faculty of Asian and Middle Eastern Studies, University of Cambridge. He holds a DPhil in Anthropology from the University of Oxford (2017), and was a Junior Research Fellow in Christ Church, Oxford, between 2016 and 2020. His first book, Making Film in Egypt: How Labor, Technology and Mediation Shape the Industry, was published by the American University in Cairo Press in 2021. His broader research interests include Egyptian popular culture, technology, humor, and bureaucracy. Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Extract from publisher's website: The enormous influence of the Egyptian film industry on popular culture and collective imagination across the Arab world is widely acknowledged, but little is known about its concrete workings behind the scenes. Making Film in Egypt provides a fascinating glimpse into the lived reality of commercial film production in today's Cairo, with an emphasis on labor hierarchies, production practices, and the recent transition to digital technologies. Drawing on in-depth interviews and participant observation among production workers, on-set technicians, and artistic crew members, Chihab El Khachab sets out to answer a simple question: how do filmmakers deal with the unpredictable future of their films? The answer unfolds through a journey across the industry's political economy, its labor processes, its technological infrastructure, its logistical and artistic work, and its imagined audiences. The result is a complex and nuanced portrait of the Arab world's largest film industry, rich in ethnographic detail and theoretical innovations in media anthropology, media studies, and Middle East anthropology. Join us for our MEC live webinars – registration essential; details available from Middle East Centre Events | St Antony's College (ox.ac.uk) or subscribe to our weekly e-mailing newsletter by emailing mec@sant.ox.ac.uk or follow us on Twitter @OxfordMEC

In which I break down the American middle class' relationship with Trader Joe's. This episode is my project for COMC3232: Class, Taste, and Mass Culture taught by Professor Sharif Mowlabocus. Thank you all for listening! If you go to Fordham, I highly recommend taking this class!  Listening guide with all works cited:  https://docs.google.com/document/d/10wyihu-NzEMRR24EHYt6MHd96ut-7sf4M4TYZ46F1fE/edit?usp=sharing  Eva Maria's instagram with really awesome resources. The highlight I mention is called "food journey!!!" and has a cover photo of some sexy asparagus!  www.instagram.com/imyagirleva 

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts' emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman's writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Krakel har cirklat kring temat döden, och läst utdrag från bland annat Martin Hägglunds bok Vårt enda liv. Erik, Karin och Michaela samtalar kring döden, spiritualitet, religion och tid. Men också om dödshjälp, self care, omsorg och arbete.Att inse att vi består av bräckliga, materiella kroppar och att vår tid är ändlig är villkor för levandet. Att istället tro att jordelivet åtföljs av ett evigt efterliv går stick i stäv med andlig frihet, menar Hägglund. När vi skiljer ande/sinne från kropp/kött och strävar efter att transcendera det materiella, förlorar vi kontakten med oss själva och vår omgivning. Den typen av dualismer finner vi även i subjekt/objekt-relationen mellan människa och natur, en natur som fått utstå kapitalets, och manlighetens, exploatering och herravälde i hundratals år. Har religionen någon plats i politiken? Och finns det ett behov av andlighet, som den avförtrollade kapitalismen helt enkelt inte kan tillgodogöra människan? Detta och mer i avsnittet om vår enda död.Nämns i avsnittet:Gör Rojava grönt igen av Rojavas internationalistiska kommun (se även Abdullah Öcalan)The Dispossessed (1974) av Ursula K. Le GuinThe Last Night: Anti-Work, Atheism, Adventure (2013) av Federico Campagna Essän Free time (från The Culture Industry: Selected Essays on Mass Culture) av T. AdornoVårt enda liv: sekulär tro och andlig frihet (2020) av Martin HägglundRe-enchanting the World: Feminism and the Politics of the Commons (2018) av Silvia Federici Omslagsbild: The Life Clock (1935) av Richard Teschner.Krakelpodden är en antikapitalistisk podd om kroppen, språket, kulturen och politiken. Görs av föreningen Krakel i Malmö. Läs mer om oss på www.krakelkrakel.com. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Dalí was born in the early years of the twentieth century in a typical bourgeois family from Figueres (Spain). Trained as a classical artist, he soon discovered Surrealism and also became a celebrity in other artistic fields, such as writing, film and design, which cannot be understood without taking into account the creative project he conceived with his wife Gala. In Dali’s Teatre-Museu, in Figueres, his essence is all over the place, just like an old vice or a never negotiated remorse. In fact, this prodigious building is not only Dalí’s museum: it is also his mausoleum. In this podcast, Estrella de Diego, Professor of Art History at the Universidad Complutense de Madrid, talks about this outstanding figure in Spanish culture. Presented by Maria Jenell Nicolas Dalí’s voiceover by Luis Carlos de la Lombana Books and publications about Salvador Dalí Aguer, Montse, Dalí's world, London, Goodman, 2009. Dalí, Salvador (1942), The Secret Life of Salvador Dalí, New York, Dover Fine Art, 1993. Salvador Dalí: an illustrated life, London / Figueres / Madrid, Tate Publishing / Fundació Gala-Salvador Dalí / Sociedad Estatal de Conmemoraciones Culturales-Ministerio de Cultura, 2007. Exhibition catalogues Salvador Dalí, the early years, London, South Bank Centre, 1994. Dalí. Mass Culture, Barcelona / Figueres, Fundació La Caixa / Fundació Gala-Salvador Dalí, 2004. De Diego, Estrella, Gala Salvador Dalí. A Room of own's own in Púbol, Barcelona, MNAC-Fundació Gala-Salvador Dalí, 2018. Major Figures in Spanish Culture is on the Top 20 list of Spain Travel & Culture podcasts on Feedspot

Mike and Nate reunite to riff on the most pertinent events affecting the world of sports, politics, economics, social issues and more in the context of the insane landscape that is this Covid-19, Neoliberal Hellscape USA. Here are just a few of the issues we analyze, discuss, and even try to have a little fun with -at least as much as it's possible to do so in this time of Covid's resurgence and political cowardice in Washington, DC and state capitals across the U.S. We dive into include the bleak economic outlooks facing college athletic departments, MLB scouts and non-player personnel, and many other athletic organizations coming out of this pandemic. We also look at the example of Utah congressman elect and former Miami Hurricanes and NFL star, Burgess Owens, being elected as the next star black athlete turned right-wing politician for the GOP. The issue of college football coronavirus cancellations being framed by coaches and commentators as "using Covid as an excuse" to "not man up and play ball" is analyzed and explored from all angles. The exodus of Miami, Florida area natives from the Nebraska Cornhuskers' football program is analyzed in light of pandemic college football conditions and what they say about the future of CFB players awakening to the variety of ways in which their bodies and labor are exploited. Western corporate media's awful eulogies following the passing of soccer superstar, international icon and people's champ, Diego Maradona, are analyzed in the context of the class bias and total hypocrisy they reveal. If you enjoy the content, please consider supporting our work on Patreon so we can produce more of it. The editing, equipment, podcast hosting, and other costs are the biggest barriers in the way of being able to churn out more content on a consistent basis.https://www.patreon.com/redspinsports@RedspinSports (Twitter & Instagram) Nathaniel (Nate) Wallace: @NateWallace9 on Twitter and @wallace_nate on Instagram Michael (Mike) Sampson: @BrotherFlourish Twitter and @mikeflourish on Instagram https://www.facebook.com/RedspinSports/Checkout Redspin Sports on Spotify, Apple Podcasts, iHeart Radio, YouTube, and elsewhere.This episode was recorded on December 5th, 2020. Follow "Redspin Sports on Spreaker or wherever you listen to podcasts. https://www.spreaker.com/show/redspin-sports

Walter Armbrust (St Antony’s College, Oxford), author of Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019), gives a talk for the Middle East Centre Friday Seminar Series on 20th November 2020. Chaired by Dr Michael Willis (St Anthony's College, Oxford) Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Abstract: When the Covid-19 pandemic began many people thought that a virus-induced apocalypse, while painful, provided a chance to rethink and fix everything from school funding to global warming. Yet as the initial effervescence of our entry into the liminality of lockdown dragged into a dreary limbo, darker possibilities emerged. The rich grew richer; once laughable conspiracy theories became politically weaponized; the environment became less important than economic recovery; and in this country, Covid-induced economic distress has provided perfect cover for getting the hardest of Brexits done. A crisis, real or perceived, produces real change - just not the sort of change progressive activists may have envisioned, as the Egyptian revolutionaries I wrote about in Martyrs and Tricksters discovered to their dismay. Indeed, crisis provides ideal conditions for the flourishing of tricksters in mainstream politics, and many a trickster politician harbours the kernel of an authoritarian. My talk explores links between crisis and authoritarianism in the Middle East, but also more widely, and not only in the context of Covid (though it provides an excellent point of entry to my topic), but also in longer historical and social contexts. There may well be a “dictatorship syndrome,” as Dr al-Aswany’s book suggests, but the institutionalization of dictators and the habituation of populations to their rule is only part of the story. Dictators are often born from crisis as tricksters. Hitler started as a trickster. Donald Trump is perhaps the clearest instantiation of a trickster politician in history. Some crises are unforeseeable - earthquakes, pandemics, revolutions for example. Others are increasingly structured, economically and by communication technologies. We tend not to think of the economy as intrinsically crisis-prone, though perhaps we should, given the dominance of capitalism and its requirement for constant disruptive change and expansion. The crisis potential of media technologies is easier to imagine when we have so close at hand the wreckage of whiplashing from hopeful “Facebook Revolutions” to propagandistic “Fake News” in the space of a decade. In the end the notion of a dictatorship syndrome in the Middle East perhaps distracts us from the much greater danger of an authoritarian virus spreading throughout the world.

Walter Armbrust (St Antony’s College, Oxford), author of Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019), gives a talk for the Middle East Centre Friday Seminar Series on 20th November 2020. Chaired by Dr Michael Willis (St Anthony's College, Oxford) Professor Walter Armbrust is a Hourani Fellow and Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000). Abstract: When the Covid-19 pandemic began many people thought that a virus-induced apocalypse, while painful, provided a chance to rethink and fix everything from school funding to global warming. Yet as the initial effervescence of our entry into the liminality of lockdown dragged into a dreary limbo, darker possibilities emerged. The rich grew richer; once laughable conspiracy theories became politically weaponized; the environment became less important than economic recovery; and in this country, Covid-induced economic distress has provided perfect cover for getting the hardest of Brexits done. A crisis, real or perceived, produces real change - just not the sort of change progressive activists may have envisioned, as the Egyptian revolutionaries I wrote about in Martyrs and Tricksters discovered to their dismay. Indeed, crisis provides ideal conditions for the flourishing of tricksters in mainstream politics, and many a trickster politician harbours the kernel of an authoritarian. My talk explores links between crisis and authoritarianism in the Middle East, but also more widely, and not only in the context of Covid (though it provides an excellent point of entry to my topic), but also in longer historical and social contexts. There may well be a “dictatorship syndrome,” as Dr al-Aswany’s book suggests, but the institutionalization of dictators and the habituation of populations to their rule is only part of the story. Dictators are often born from crisis as tricksters. Hitler started as a trickster. Donald Trump is perhaps the clearest instantiation of a trickster politician in history. Some crises are unforeseeable - earthquakes, pandemics, revolutions for example. Others are increasingly structured, economically and by communication technologies. We tend not to think of the economy as intrinsically crisis-prone, though perhaps we should, given the dominance of capitalism and its requirement for constant disruptive change and expansion. The crisis potential of media technologies is easier to imagine when we have so close at hand the wreckage of whiplashing from hopeful “Facebook Revolutions” to propagandistic “Fake News” in the space of a decade. In the end the notion of a dictatorship syndrome in the Middle East perhaps distracts us from the much greater danger of an authoritarian virus spreading throughout the world.

In this episode we look at how homes and homelands are imagined by Cat and Dany, and discuss the role of prosthetic memory.    Mentioned in this episode: Porteous, J.D. and Smith, S.E. 2001, Domicide: The Global Destruction of Home, McGill-Queen's University Press, Montreal. Landsberg, A 2004, Prosthetic Memory: The Transformation of American Remembrance in the Age of Mass Culture, Columbia University Press. Proquest Ebook Central, New York.   You can support us on Patreon at https://www.patreon.com/tropewatchers. If you enjoyed A Clash of Critics, check out our flagship podcast, Trope Watchers, the podcast about pop culture and why it matters: tropewatchers.com. CW: A Clash of Critics frequently discusses issues such as violence, abuse, sexual assault, bigotry, and other sensitive topics.

Mass Culture - Massey Levesque Report by Art Gallery of Alberta

Alison Hedley has a PhD in Communication and Culture and holds a SSHRC (Social Sciences and Humanities Research Council of Canada) postdoctoral fellowship at McGill University. Her current research addresses the history of data visualization in popular journalism, focusing especially on Victorian and Edwardian Britain. She is editor of the Yellow Nineties Personography, a biographical database about authors and artists of the 1890s, and author of the forthcoming book Making Pictorial Print: Media Literacy and Mass Culture in British Magazines, 1885-1918 (University of Toronto Press). Timestamps What makes Florence Nightingale compelling? 1:30 What was the context of data in this era? 3:06 Skepticism of early visualization 5:45 Design Rhetoric 9:00 Population Journalism 13:27 What is visualization literacy? 22:20

Patreon: https://www.patreon.com/theoryandphilosophy                                                           Podbean: https://theoretician.podbean.com/                                                               Instagram: @theory_and_philosophy                                                                               Paypal: paypal.me/theoryphilosophy In this episode, I present the first three chapter of Theodor Adorno's "The Culture Industry." Adorno levels a strong critique against mass culture here, highlighting the effects of alienation under advanced industrial capitalism Timestamps: Ch. 3: The Culture Industry Reconsidered (Beginning) Ch. 1: On the Fetish Character in Music and the Regression of Listening (11:50) Ch 2: The Schema of Mass Culture (26:41)

Emma's back with everything you need to know about mass culture for your A Level Sociology exam. She goes through the Post-modern and Marxist perspectives on mass culture. Perfect for the AQA exam board. Ideal for preparing you for your A Level Sociology exam. Click here for the full course, or visit this link: http://bit.ly/30id5tm

The author of the book New Kings of the World discusses the rise of Korean pop music, Indian cinema, and Turkish television dramas and explores why Asian pop culture is having a moment.

Professor Walter Armbrust (St. Antony's College, Oxford) gives a talk for the Middle East Studies Centre seminar series. Chaired by Professor Eugene Rogan (St. Antony's College, Oxford). Dr Walter Armbrust is Hourani Fellow and Associate Professor in Modern Middle Eastern Studies. He is a cultural anthropologist, and author of Mass Culture and Modernism in Egypt (1996); Martyrs and Tricksters: An Ethnography of the Egyptian Revolution (2019); and various other works focusing on popular culture, politics and mass media in Egypt. He is editor of Mass Mediations: New Approaches to Popular Culture in the Middle East and Beyond (2000).

Western rock, drug abuse, sexual liberation, abortion, unconventional clothing, and avant-garde art were all departures from traditional norms and orthodox faith. Moreover, deviant sexual mores, such as homosexuality and promiscuity, have all become popular, bringing lasting negative effects to the entire Western society. The glory of divine culture has largely been banished in the West, and Western civilization has lost its splendor and luster.

Western rock, drug abuse, sexual liberation, abortion, unconventional clothing, and avant-garde art were all departures from traditional norms and orthodox faith. Moreover, deviant sexual mores, such as homosexuality and promiscuity, have all become popular, bringing lasting negative effects to the entire Western society. The glory of divine culture has largely been banished in the West, and Western civilization has lost its splendor and luster.

Western rock, drug abuse, sexual liberation, abortion, unconventional clothing, and avant-garde art were all departures from traditional norms and orthodox faith. Moreover, deviant sexual mores, such as homosexuality and promiscuity, have all become popular, bringing lasting negative effects to the entire Western society. The glory of divine culture has largely been banished in the West, and Western civilization has lost its splendor and luster.

Western rock, drug abuse, sexual liberation, abortion, unconventional clothing, and avant-garde art were all departures from traditional norms and orthodox faith. Moreover, deviant sexual mores, such as homosexuality and promiscuity, have all become popular, bringing lasting negative effects to the entire Western society. The glory of divine culture has largely been banished in the West, and Western civilization has lost its splendor and luster.

Western rock, drug abuse, sexual liberation, abortion, unconventional clothing, and avant-garde art were all departures from traditional norms and orthodox faith. Moreover, deviant sexual mores, such as homosexuality and promiscuity, have all become popular, bringing lasting negative effects to the entire Western society. The glory of divine culture has largely been banished in the West, and Western civilization has lost its splendor and luster.

Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda’s hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show’s success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton’s likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda’s interpretation of American history diverges from many historians’ understandings, while others take him to task for his portrayals of women and slavery. Miranda’s decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America’s founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America’s Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda’s hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show’s success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton’s likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda’s interpretation of American history diverges from many historians’ understandings, while others take him to task for his portrayals of women and slavery. Miranda’s decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America’s founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America’s Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda’s hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show’s success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton’s likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda’s interpretation of American history diverges from many historians’ understandings, while others take him to task for his portrayals of women and slavery. Miranda’s decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America’s founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America’s Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda’s hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show’s success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton’s likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda’s interpretation of American history diverges from many historians’ understandings, while others take him to task for his portrayals of women and slavery. Miranda’s decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America’s founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America’s Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historians on Hamilton: How a Blockbuster Musical is Restaging America’s Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda’s hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show’s success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton’s likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda’s interpretation of American history diverges from many historians’ understandings, while others take him to task for his portrayals of women and slavery. Miranda’s decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America’s founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America’s Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices

Historians on Hamilton: How a Blockbuster Musical is Restaging America's Past (Rutgers University Press, 2018), edited by Renee C. Romano and Claire Bond Potter, is a collection of essays about Lin Manuel Miranda's hit musical, Hamilton. The show has taken Broadway and much of the United States by storm and is currently running on the West End in London as well. The popular interest in Alexander Hamilton prompted by the show's success has generated new museum exhibits, numerous hot takes in the media, and even a successful effort to preserve Hamilton's likeness on the ten dollar bill. The essays in this collection take on some of the questions and issues raised by the musical and its popularity. Some of the authors comment on the ways that Miranda's interpretation of American history diverges from many historians' understandings, while others take him to task for his portrayals of women and slavery. Miranda's decision to cast non-white actors in most of the roles also comes under scrutiny in several essays. Aimed at a wide audience, including teachers, scholars, and fans the essays provide a diverse, sometimes contradictory, set of views on Hamilton, as well as suggestions for teaching the musical. It is not often that we see a new collective memory of the past form in real time, but that is what is happening because of the success Hamilton. This collection is one of the first attempts at analyzing the musical as a piece of art, an interpretation of America's founders, and a phenomenal commercial success in the online age. Renee C. Romano is the Robert S. Danforth Professor of History at Oberlin College in Ohio. She is the author or coeditor of many books and articles on racial politics of the post-WWII United States, African American history, civil rights, and historical memory. Her most recent book is Racial Reckoning: Prosecuting America's Civil Rights Murders from Harvard University Press. Claire Bond Potter is a professor history at the New School in New York and the executive editor of Public Seminar. In addition to her monograph, War on Crime: Bandits, G-Men and the Politics of Mass Culture, and scholarly articles, she is a prolific public historian whose writing has been published by many news outlets including The Guardian, the Washington Post. She is also the Director of the Digital Humanities Initiatives at the New School. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. 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

Is racism a blot on the American democratic tradition? Or, as Alexander Saxton argues, has racial discrimination always been integral to it? In the nineteenth century, the United States was transformed into an industrialized mass democratic society. But central to this economic growth and the territorial expansion which accompanied it was slave labor in the South and the expropriation of Indian lands in the West.In this meticulous historical study, Saxton asks why white racism remained an ideological force in America long after the need to justify slavery and Western conquest had disappeared. He shows how the notion of white racial superiority continued to meet the needs of the various class coalitions that ruled the nation, at the same time as a creed of liberty and equality became dominant. And he explores the processes of ideological revision that made possible these seemingly contradictory transformations.Examining images of race at a popular level—from blackface minstrelsy to the construction of the Western hero; from grassroots political culture to dime novels—as well as the philosophical construction of the political elite, The Rise and Fall of the White Republic: Class Politics and Mass Culture in Nineteenth-Century America is a powerful and comprehensive account of the ideological forces at work in the formation of modern America.Alexander Saxton, was professor emeritus of history at the University of California, Los Angeles, is also the author of The Indispensable Enemy: Labor and the Anti-Chinese Movement in California as well as several novels. He spent nearly twenty years as a merchant seaman and carpenter before launching a distinguished academic career.David Roediger teaches history and African American Studies at the University of Kansas. He was born in southern Illinois and educated in public schools in that state, with a B.S. in Ed from Northern Illinois University. He completed a doctorate in History at Northwestern in 1979. Roediger has taught labor and Southern history at Northwestern, University of Missouri, University of Minnesota, and the University of Illinois. He has also worked as an editor of the Frederick Douglass Papers at Yale University. He has written on U.S. movements for a shorter working day, on labor and poetry, on the history of radicalism, and on the racial identities of white workers and of immigrants. His books include Our Own Time, The Wages of Whiteness, How Race Survived U.S. History, Towards the Abolition of Whiteness, and Working Towards Whiteness.

In episode sixteen, we delve into Scott Lawlor’s beautiful and heartfelt tribute to his brother Joe, who passed away November 2017. We dabble in someContinue reading

In our current media-saturated age, content has become incidental to the real story, which is the entertainment-value of the political spectacle itself. Have politics and mass culture become too inextricably entwined to imagine one without the other?

Intro/outro music: “Gay Bar Videogame” by The Wildbunch http://freemusicarchive.org/music/The_Wildbunch/Gay_Bar/Gay_Bar_videogame 2:02 Introducing this week’s show 3:27 High concept 5:00 Cast of characters 8:46 Episode recaps 10:03 Really playing up that flat tire 11:18 Theme of ‘race against winter’ 13:34 ‘Rick the Lumberman’ 15:04 Fingerprints of producers all over 16:18 The ‘junkman’ and other ‘rough’ characters 18:22 The bartering ‘goose chase’ 19:15 DVDs and rural Alaska 20:10 Barter as emblem of bush culture 20:30 Wrapping up cabin-building arc 21:50 Briefly summarizing ‘boat’ episode 22:45 The ‘clip’ episode aka ‘No, it’s real! Really!’ 23:23 The dentist’s office 24:05 Different reactions to believability of hospital care for barter 26:06 Our first impressions of show’s authenticity 28:40 Residency fraud charges 30:00 Walmart DUI 30:39 Family’s history with technology 31:52 Evolution of show’s authenticity 32:18 Presence of fakery didn’t surprise Mike, but level of fakery did 33:00 Final thoughts on the family’s ‘bush skills’ 33:47 Definition of reality TV vis-à-vis the documentary 34:34 What is line b/w documentary and reality TV? 35:02 JS defines it as level of producer involvement in action as it is happening 37:38 Nanook of the North and staged scenes 39:45 Mike defines difference in the marketing and purpose 40:54 How important is ‘reality’ is to ‘reality TV’? 43:15 JS thinks even ‘fake’ reality shows qualify because they at least set up certain expectations 45:21 Theme of self-reliance and freedom juxtaposed to civilization 46:20 JS thought inauthenticity undermined this message 47:33 Is freedom from civilization really freedom or just subjugation to whims of nature? 49:10 Show’s idealization and romanticization of ‘bush culture’ 50:05 Masculine focus and tone of many ‘outdoor’ oriented shows 51:13 A brief digression on Billy’s and Ami’s marital and family history 52:55 Interesting blend of familiarity and exoticism in portrayal of Browns 53:53 Alaska’s place in US mental geography 54:22 Importance of the Brown’s whiteness to show’s appeal 57:28 Mashup b/w 1850’s nostalgia and 1950’s nostalgia 57:55 Show sells image of Alaskan rugged individualism, but there are cracks in that image 59:56 JS talks about appealing aspects of show 1:01:05 Mike thought show would have been better w/o hype (and fakery, obv) 1:01:40 Gemeinschaft and Gessellschaft 1:03:15 Reification and Utopia in Mass Culture 1:06:25 Relationship b/w reality TV and subcultures 1:07:23 Results of our listener’s choice poll 1:08:45 The boilerplate: email, Facebook, rate/review, subscribe

Oksana Smerechuk Describes how Old Holiday Traditions are Re-surfacing and Fusing with New Ones in Ukraine

Dr. Torsten Cress, vom Institut für Soziologie der Universität Mainz, unterhält sich mit Dr. Udo Thiedeke über die Hervorbringung und Wahrnehmung transzendenter Objekte und ihre Einbindung in religiöse Praktiken. Shownotes:#00:02:11# Zum Aspekt der Absonderung der sakralen von den profanen Dingen vgl. Émile Durkheim, 1994: Die elementaren Formen des religiösen Lebens. Frankfurt/M.: Suhrkamp (1912). S. 61ff.#00:04:42# Eine Sammlung liturgischer Gefäße findet sich in der Schatzkammer des Dom- und Diözesanmuseums Mainz, siehe: Online. #00:06:46# Beispiel für die katholische Eucharistie siehe: Online.#00:10:06# Zum Begriff des "Rezeptwissens" vgl. Alfred Schütz, 1972: Der sinnhafte Aufbau der sozialen Welt, Frankfurt/M. S. 87f., 96. #00:11:18# Siehe zum praxistheoretischen Zugang von Theodore Schatzki: Theodore R. Schatzki, 1996: Social Practices. A Wittgensteinian Approach to Human Activity and the Social. Cambridge: Cambridge University Press, sowie ders. 2002: The Site of the Social. A Philosophical Account of the Constitution of Social Life and Change. University Park: Pennsylvania State University Press.#00:12:43# Zur "Lived Religion"-Forschung siehe Meredith McGuire, 2008: Lived Religion. Faith and Practice in Everyday Life. Oxford/New York: Oxford UP. Im Fokus stehen hier religiöse Aktivitäten, die Menschen in ihrem Alltag und außerhalb religiöser Institutionen vollziehen. #00:16:10# Modulation meint bei Goffman die Transformation oder Verwandlung einer Handlung (etwa: Kampfverhalten) in etwas anderes (etwa: eine Übung, ein Spiel, eine Vorführung etc.). Siehe dazu Erving Goffman, 1980: Rahmen-Analyse. Ein Versuch über die Organisation von Alltagserfahrungen. Frankfurt/Main: Suhrkamp, S. 52-97 (1974).#00:17:10# Siehe zum hinduistischen Holi-Fest: Online und hier: Online.#00:20:19# Siehe zum Beispiel den Sufismus hier: Online und hier: Online.#00:20:48# Zur farblichen Ausgestaltung und Farbphilosophie gotischer Kathedralen siehe etwa: Peter Kurmann, 2011: Als die Kathedralen farbig waren... In: Ingrid Bennewitz, Andrea Schindler (Hrsg.): Farbe im Mittelalter. Materialität - Medialität - Semantik. Akten des 13. Symposiums des Mediävistenverbandes vom 1. bis 5. März 2009 in Bamberg, Bd. 1. 2 Bd. Berlin: Akademie Verlag. S. 31-46.#00:28:05# Siehe zu zwanghaften Handlungen und Zwangsstörungen: Online.#00:31:41# Zur Grotte in Lourdes siehe: Online. und hier: Online sowie: Ruth Harris, 1999: Lourdes. Body and Spirit in the Secular Age. London: Penguin. Suzanne K. Kaufman, 2005: Consuming Visions. Mass Culture and the Lourdes Shrine. Ithaca/London: Cornell University.#00:33:14 Zur Rahmung religiöser Dinge siehe Torsten Cress, 2015: Social Situations and the Impact of Things. The Example of Catholic Liturgy, in: Nature and Culture 10/ 3, S. 381-399.#00:44:00# Zu Sakralobjekten als "arbiträre Zeichen" siehe: Karl-Heinz Kohl, 2003: Die Macht der Dinge. Geschichte und Theorie sakraler Objekte. München: Beck. S. 155-158. Kohl überträgt den Saussureschen Gedanken, wonach die Verbindung von Lautbild und Bedeutung bei sprachlichen Zeichen mehr oder weniger beliebig ist, auf Sakralobjekte, die demnach in ähnlicher Weise durch willkürliche Bedeutungszuweisungen charakterisiert werden können. Jedes materielle Objekt könne als Repräsentant des Heiligen betrachtet und verehrt werden.#00:45:14# Zu "Fetischen" in Afrika vgl. wiederum Kohl, Karl-Heinz, 2003: Die Macht der Dinge. Geschichte und Theorie sakraler Objekte. München: Beck. S. 18-29.#00:46:12# Siehe zur Wüstenstadt Petra in Jordanien: Online. Zur Abbildung nabatäischer Gottheiten vgl. Robert Wenning, Helmut Merklein, 1997: Die Götter in der Welt der Nabatäer. In: Robert Wenning, Thomas Weber (Hrsg.): Petra. Antike Felsstadt zwischen arabischer Tradition und griechischer Norm. Sonderheft der Antiken Welt. Zaberns Bildbände zur Archäologie, Mainz 1997, S. 105-110. Besonders Abb. 114 S. 105: Online. #00:51:46# Die Herkunft und Bedeutung des Namens Kilimandscharo für den höchsten Berg Afrikas scheint nicht eindeutig geklärt. In der Sprache der Massai soll er als "Weißer Berg" bezeichnet sein, dessen Gipfel von bösen Geistern bewacht wird, die jeden, der versucht den Gipfel zu erreichen, gefrieren lassen.#00:57:28# Zur "Material Culture of Religion-Forschung" siehe David Morgan (Hrsg.), 2010: Religion and Material Culture. The Matter of Belief. Oxon, New York: Routledge. William J. F. Keenan, Elisabeth Arweck, 2006: Introduction. Material Varieties of Religious Expression, in: Elisabeth Arweck, Wiliam J. F. Keenan (Hrsg.): Materializing Religion. Expression, Performance and Ritual. Aldershot, Burlington: Ashgate, S. 1-20.Torsten Cress (2014): Religiöse Dinge, in: Stefanie Samida, Manfred K.H. Eggert, Hans Peter Hahn, (Hrsg.): Handbuch Materielle Kultur. Bedeutungen, Konzepte, Disziplinen. Stuttgart, Weimar: Metzler, S. 241-244.#00:59:33# Zum Umgang im amerikanischen Protestantismus mit Jesusbildnissen bei amerikanischen Protestanten vgl. David Morgan, 1993: Imaging Protestant Piety: The Icons of Warner Sallman, in: Religion and American Culture 3/1, S. 29-47 sowie: Colleen McDannell, 1995: Material Christianity. Religion and Popular Culture in America. New Haven, London: Yale University Press, S. 25-38. Zu Ansätzen einer Art Reliquienverehrung im Methodismus siehe ebd., S. 42-43.#01:01:31# Zur Bedeutung des Buchdrucks für die konfessionelle Reformation der frühen Neuzeit und dem Protestantismus vgl. z.B. Johannes Burkhardt, 2002: Das Reformationsjahrhundert. Deutsche Geschichte zwischen Medienrevolution und Institutionenbildung 1517-1617. Stuttgart: Kohlhammer S. 16ff.#01:11:52# Die Ethnographie ist eine Variante qualitativer Forschungsmethoden, die sich ihren Untersuchungsgegenstand insbesondere über Formen der teilnehmenden Beobachtung und über Interviews zu erschließen sucht. Siehe dazu etwa Christian Lüders, 2000: Beobachten im Feld und Ethnographie. In: Uwe Flick, Ernst von Kardoff, Ines Steinke (Hrsg.): Qualitative Forschung. Ein Handbuch. Reinbek bei Hamburg: Rowohlt, S. 384-401, sowie Herbert Kalthoff, 2006: Beobachtung und Ethnographie, in: Ruth Ayaß, Jörg R. Bergmann(Hrsg.): Qualitative Methoden der Medienforschung, Reinbek bei Hamburg: Rowohlt, S. 146-182.#01:13:21# Zu Latours Plädoyer für eine systematische soziologische Beschäftigung mit Objekten als "Mitspieler des Sozialen" vgl. Bruno Latour, 2001: Eine Soziologie ohne Objekt? Anmerkungen zur Interobjektivität, in: Berliner Journal Für Soziologie 11/2, S. 237-252.#01:16:43# Zur Praxis als "kleinste Einheit des Sozialen" vgl. Andreas Reckwitz, 2003: Grundelemente einer Theorie sozialer Praktiken. Eine sozialtheoretische Perspektiv, in: Zeitschrift für Soziologie 32/ 4, S. 282-301 (insbes. S. 290).#01:20:01# Zu den Schwierigkeiten Verhalten, Handeln und soziales Handeln bereits idealtypisch zu unterscheiden siehe Max Weber, 1972: Wirtschaft und Gesellschaft. Grundriß der verstehenden Soziologie. 5. revidierte Aufl. besorgt von Johannes Winckelmann Tübingen: Mohr (1921) S. 1ff.#01:24:22# Zur "Familienähnlichkeit" der Praxistheorien vgl. Andreas Reckwitz, 2003: Grundelemente einer Theorie sozialer Praktiken. Eine sozialtheoretische Perspektive, in: Zeitschrift Für Soziologie 32/4, S. 282-301 (insbes. S. 283).#01:24:55# Eine Abhandlung über den organisatorischen Aufbau sozialer Praktiken findet sich bei Theodore R. Schatzki, 1996: Social Practices. A Wittgensteinian Approach to Human Activity and the Social. Cambridge: Cambridge UP. Insbesondere Kap. 4, S. 88-132.[Alle Links aktuell Oktober / November 2016]Dauer 1:34:53 Folge direkt herunterladen

Julien Schuh examines the circulation of styles and ideas through periodicals in Europe at the turn of the twentieth century. This paper analyses the conditions that allowed the birth of a culture of virality in the European press at the end the of nineteenth century through a specific style, 'Synthetism', which relied on abstraction and deformation. This style developed at the same time in the modernist magazines and in the periodicals of mass consumption.

This lecture forms part of a series entitled "Art History: Concepts and Methods" and is for second year Undergraduate and MSt History of Art students. It was delivered at the University of Oxford History of Art Department. This lecture introduces students to the stylistic and theoretical frameworks of post-modernism, distinguishing its characteristics from those associated with modernism, and exploring its varied expressions in art, architecture and visual culture from the 1960s until the present.

This lecture forms part of a series entitled "Art History: Concepts and Methods" and is for second year Undergraduate and MSt History of Art students. It was delivered at the University of Oxford History of Art Department. This lecture introduces students to the stylistic and theoretical frameworks of post-modernism, distinguishing its characteristics from those associated with modernism, and exploring its varied expressions in art, architecture and visual culture from the 1960s until the present.

This lecture forms part of a series entitled "Art History: Concepts and Methods" and is for second year Undergraduate and MSt History of Art students. It was delivered at the University of Oxford History of Art Department. This lecture introduces students to the stylistic and theoretical frameworks of post-modernism, distinguishing its characteristics from those associated with modernism, and exploring its varied expressions in art, architecture and visual culture from the 1960s until the present.

Professor Claire "Tenured Radical" Potter is the guest on this installment of the podcast known as The Chauncey DeVega Show. Dr. Potter is a scholar of American Studies, history, and popular culture. She is a Professor of History at The New School and is the author/editor of several books including War on Crime: Bandits, G-Men and the Politics of Mass Culture and the forthcomingBeyond Pornography: How Feminism Survived the Age of Reagan. As the "Tenured Radical" she is perhaps best known for her column at The Chronicle of Higher Education and as a scholar at the forefront of public pedagogy and its intersection(s) with digital media and democracy. Claire has also been a friend of The Chauncey DeVega Show for some time. She has also been a great booster and supporter of Chauncey DeVega's other online work. Dr. Potter is very sharp, witty, and wise. This makes for a great conversation on the newest installment ofThe Chauncey DeVega Show. In this new episode of The Chauncey DeVega Show, Claire and Chauncey talk about police brutality and life in New York in the shadow of the Eric Garner case, the perils, joys, and challenges of public pedagogy and intellectual work; and share some fun stories about the naughty, titillating, and scintillating things that can be found in famous folks' personal archives and collections. Chauncey and Claire also talk about how Times Square was made into Disney World and the relationship between feminism and anti-pornography crusades. Chauncey DeVega also cuts a not short opening promo about the killing of Walter Scott by the thug cop Michael Slager in South Carolina and does a bit of reading and reflection on the great essay The Police Are America's Terrorists.

33, Celebrity, Synthetic Elvis, Posthumous Recordings, Paul is Dead(?), Controlled Opposition, Media Fakery, Mass Culture, The Dynamics of Change(1968),Special Effects, Weaponized Culture, Farm Fresh Free Range Eggs, Child Development, Protest, Schooling.___ ___Select Reading: Mass Media, Mass Man ___Commute Music: TV Casualty by the Misfits