Podcasts about Melike

Als Sängerin der legendären experimentellen Psychedelic-Band Baba Zula aus ihrem Geburtsort Istanbul erlangte Melike Şahin in den frühen 2010er Jahren erste Bekanntheit und spielte Konzerte in mehr als 40 Ländern auf fünf Kontinenten. Seit 2017 nicht weniger erfolgreich unter eigenem Namen unterwegs, verbindet die 35-Jährige in ihrem Sound Elemente der anatolischen Pop- und Volksmusik, die sie von klein auf prägten, mit modernen Klängen und Ideen aus aller Welt, während sie textlich aktuelle gesellschaftliche Themen aufgreift und sich für die Rechte von Frauen, Kindern und marginalisierten Gruppen einsetzt. So auch auf ihrem Ende 2024 erschienenen zweiten Studioalbum "Akkor", das sie im Mai auf großer Tournee live vorstellen wird. "Mein erstes Album handelte vom Heilen, dieses handelt vom Überleben", erzählt Şahin, die besonders für ihren leidenschaftlich-emotionalen Gesangsstil, berührende Texte und einnehmende Bühnenpräsenz bekannt ist, zum Hintergrund des in London aufgenommenen Albums "Akkor". Explizit als Aktivistin würde sie sich nicht bezeichnen, doch freut es sie, dass ihre Lieder, die sich um Themen wie Weiblichkeit, Gleichberechtigung und Liebe drehen, zu Hymnen der türkischen Frauenbewegung geworden sind. Sicher nicht nur der Texte wegen – lässt doch ihr Sound, der die Message gekonnt in eine Melange aus traditionellen Klängen ihrer Heimat, funky Disco- und R'n'B-Beats und fesselnden Psychedelic-Vibes kleidet, unweigerlich an den schönen Satz denken: "Wenn ich nicht dazu tanzen kann, ist es nicht meine Revolution." Wir begrüßen Melike Şahin heute im studioeins, um zuerst mit ihr im Interview darüber zu sprechen, was sie seit der Veröffentlichung von "Akkor" so erlebt hat und was sie für die Zukunft plant – zum Beispiel, was uns bei ihrem Konzert am 9. Mai im Huxleys erwartet. Da aber ein anderer berühmter Satz ja (sinngemäß) besagt, über Musik zu reden sei wie über Architektur zu tanzen, folgt auf die Theorie sogleich die Praxis und wird es natürlich auch ein paar ihrer Lieder live auf der kleinen Bühne zu hören geben.

Als Sängerin der legendären experimentellen Psychedelic-Band Baba Zula aus ihrem Geburtsort Istanbul erlangte Melike Şahin in den frühen 2010er Jahren erste Bekanntheit und spielte Konzerte in mehr als 40 Ländern auf fünf Kontinenten. Seit 2017 nicht weniger erfolgreich unter eigenem Namen unterwegs, verbindet die 35-Jährige in ihrem Sound Elemente der anatolischen Pop- und Volksmusik, die sie von klein auf prägten, mit modernen Klängen und Ideen aus aller Welt, während sie textlich aktuelle gesellschaftliche Themen aufgreift und sich für die Rechte von Frauen, Kindern und marginalisierten Gruppen einsetzt. So auch auf ihrem Ende 2024 erschienenen zweiten Studioalbum "Akkor", das sie im Mai auf großer Tournee live vorstellen wird. "Mein erstes Album handelte vom Heilen, dieses handelt vom Überleben", erzählt Şahin, die besonders für ihren leidenschaftlich-emotionalen Gesangsstil, berührende Texte und einnehmende Bühnenpräsenz bekannt ist, zum Hintergrund des in London aufgenommenen Albums "Akkor". Explizit als Aktivistin würde sie sich nicht bezeichnen, doch freut es sie, dass ihre Lieder, die sich um Themen wie Weiblichkeit, Gleichberechtigung und Liebe drehen, zu Hymnen der türkischen Frauenbewegung geworden sind. Sicher nicht nur der Texte wegen – lässt doch ihr Sound, der die Message gekonnt in eine Melange aus traditionellen Klängen ihrer Heimat, funky Disco- und R'n'B-Beats und fesselnden Psychedelic-Vibes kleidet, unweigerlich an den schönen Satz denken: "Wenn ich nicht dazu tanzen kann, ist es nicht meine Revolution." Wir begrüßen Melike Şahin heute im studioeins, um zuerst mit ihr im Interview darüber zu sprechen, was sie seit der Veröffentlichung von "Akkor" so erlebt hat und was sie für die Zukunft plant – zum Beispiel, was uns bei ihrem Konzert am 9. Mai im Huxleys erwartet. Da aber ein anderer berühmter Satz ja (sinngemäß) besagt, über Musik zu reden sei wie über Architektur zu tanzen, folgt auf die Theorie sogleich die Praxis und wird es natürlich auch ein paar ihrer Lieder live auf der kleinen Bühne zu hören geben.

Als Sängerin der legendären experimentellen Psychedelic-Band Baba Zula aus ihrem Geburtsort Istanbul erlangte Melike Şahin in den frühen 2010er Jahren erste Bekanntheit und spielte Konzerte in mehr als 40 Ländern auf fünf Kontinenten. Seit 2017 nicht weniger erfolgreich unter eigenem Namen unterwegs, verbindet die 35-Jährige in ihrem Sound Elemente der anatolischen Pop- und Volksmusik, die sie von klein auf prägten, mit modernen Klängen und Ideen aus aller Welt, während sie textlich aktuelle gesellschaftliche Themen aufgreift und sich für die Rechte von Frauen, Kindern und marginalisierten Gruppen einsetzt. So auch auf ihrem Ende 2024 erschienenen zweiten Studioalbum "Akkor", das sie im Mai auf großer Tournee live vorstellen wird. "Mein erstes Album handelte vom Heilen, dieses handelt vom Überleben", erzählt Şahin, die besonders für ihren leidenschaftlich-emotionalen Gesangsstil, berührende Texte und einnehmende Bühnenpräsenz bekannt ist, zum Hintergrund des in London aufgenommenen Albums "Akkor". Explizit als Aktivistin würde sie sich nicht bezeichnen, doch freut es sie, dass ihre Lieder, die sich um Themen wie Weiblichkeit, Gleichberechtigung und Liebe drehen, zu Hymnen der türkischen Frauenbewegung geworden sind. Sicher nicht nur der Texte wegen – lässt doch ihr Sound, der die Message gekonnt in eine Melange aus traditionellen Klängen ihrer Heimat, funky Disco- und R'n'B-Beats und fesselnden Psychedelic-Vibes kleidet, unweigerlich an den schönen Satz denken: "Wenn ich nicht dazu tanzen kann, ist es nicht meine Revolution." Wir begrüßen Melike Şahin heute im studioeins, um zuerst mit ihr im Interview darüber zu sprechen, was sie seit der Veröffentlichung von "Akkor" so erlebt hat und was sie für die Zukunft plant – zum Beispiel, was uns bei ihrem Konzert am 9. Mai im Huxleys erwartet. Da aber ein anderer berühmter Satz ja (sinngemäß) besagt, über Musik zu reden sei wie über Architektur zu tanzen, folgt auf die Theorie sogleich die Praxis und wird es natürlich auch ein paar ihrer Lieder live auf der kleinen Bühne zu hören geben.

Als Sängerin der legendären experimentellen Psychedelic-Band Baba Zula aus ihrem Geburtsort Istanbul erlangte Melike Şahin in den frühen 2010er Jahren erste Bekanntheit und spielte Konzerte in mehr als 40 Ländern auf fünf Kontinenten. Seit 2017 nicht weniger erfolgreich unter eigenem Namen unterwegs, verbindet die 35-Jährige in ihrem Sound Elemente der anatolischen Pop- und Volksmusik, die sie von klein auf prägten, mit modernen Klängen und Ideen aus aller Welt, während sie textlich aktuelle gesellschaftliche Themen aufgreift und sich für die Rechte von Frauen, Kindern und marginalisierten Gruppen einsetzt. So auch auf ihrem Ende 2024 erschienenen zweiten Studioalbum "Akkor", das sie im Mai auf großer Tournee live vorstellen wird. "Mein erstes Album handelte vom Heilen, dieses handelt vom Überleben", erzählt Şahin, die besonders für ihren leidenschaftlich-emotionalen Gesangsstil, berührende Texte und einnehmende Bühnenpräsenz bekannt ist, zum Hintergrund des in London aufgenommenen Albums "Akkor". Explizit als Aktivistin würde sie sich nicht bezeichnen, doch freut es sie, dass ihre Lieder, die sich um Themen wie Weiblichkeit, Gleichberechtigung und Liebe drehen, zu Hymnen der türkischen Frauenbewegung geworden sind. Sicher nicht nur der Texte wegen – lässt doch ihr Sound, der die Message gekonnt in eine Melange aus traditionellen Klängen ihrer Heimat, funky Disco- und R'n'B-Beats und fesselnden Psychedelic-Vibes kleidet, unweigerlich an den schönen Satz denken: "Wenn ich nicht dazu tanzen kann, ist es nicht meine Revolution." Wir begrüßen Melike Şahin heute im studioeins, um zuerst mit ihr im Interview darüber zu sprechen, was sie seit der Veröffentlichung von "Akkor" so erlebt hat und was sie für die Zukunft plant – zum Beispiel, was uns bei ihrem Konzert am 9. Mai im Huxleys erwartet. Da aber ein anderer berühmter Satz ja (sinngemäß) besagt, über Musik zu reden sei wie über Architektur zu tanzen, folgt auf die Theorie sogleich die Praxis und wird es natürlich auch ein paar ihrer Lieder live auf der kleinen Bühne zu hören geben.

Hakan Gence ile Sıkı Muhabbet'in bu haftaki konuğu Melike Şahin oldu. Keyifli izlemeler.

We muse on the cultural obstacle course the festive period presents us as we seek to escape from the cold – but not without the promise of winter sun. We'll drop into London's Tate Modern for the Gucci-backed exhibition, ‘Electric Dreams: Art and Technology Before the Internet', then we'll look at Alpine fashion with outdoors manufacturer Helly Hansen, meet Turkish singer Melike Sahin and chase the winter sun with a surfing adventure in Morocco. See omnystudio.com/listener for privacy information.

Soundcheck-Moderator Andreas Müller diskutiert mit Silvia Silko, Christop Reimann und Joachim Henschel über die folgenden neuen Alben: "Too Cold To Hold" von Warmduscher // "Bouquet" von Gwen Stefani // "From Zero" von Linkin Park //"Akkor" von Melike Sahin

Esra Aydınoğlu‘nun hazırlayıp sunduğu 2053'e Ne kaldı? programına Melike Altınışık Architects - MAA Kurucusu Yüksek Mimar Melike Altınışık konuk oldu.

Esra Aydınoğlu‘nun hazırlayıp sunduğu 2053'e Ne kaldı? programına Melike Altınışık Architects - MAA Kurucusu Yüksek Mimar Melike Altınışık konuk oldu.

Konfor alanının gerçekten konforlu mu? olduğu meselesini masaya yatırdık bu sefer. İçindeki sesi bastıramayınca kurumsal kariyerini bir kenara bırakıp kendine yeni bir yol açan Melike bu bölümün konuğu . Bana ilham veren bu güzel insanı sizde tanıyın isterim .Kendisini @melikekelek instagram hesabından takip edebilirsiniz .♥️

3+3'ün 149. bölümde konuğum çevirmen, editör, yazar Ebrar Güldemler. Şarkı: Melike Şahin - Bedelini Ödedim

Çetin Ünsalan'ın hazırlayıp sunduğu İşte Bunu Konuşalım programına Deniz Kızı Akademi Kurucusu Melike Esra Karayel konuk oldu.

Çetin Ünsalan'ın hazırlayıp sunduğu İşte Bunu Konuşalım programına Deniz Kızı Akademi Kurucusu Melike Esra Karayel konuk oldu.

#HiçUnutmam Hastaneye götürüldüğünde felç olmuş ve nefes alamaz haldeydi. 17 yaşındaki genç tam 9 ay yoğun bakımda kaldı. Ne olmuştu? Menemen yaparken tadına bakmıştı! Melike Şahin sordu, Yoğun Bakım Uzmanı Prof.Dr. Dilek Özcengiz #HiçUnutmam dediği olayı anlattı.

30 yıl öncesinden bir hikaye; Hasta Türkiye'den hiç çıkmamış ama hastalığının kaynağı Sudan… Peki nasıl? Prof.Dr. Haluk Çokuğraş anlattı. Melike Şahin ile #HiçUnutmam

Doktorundan onu iki yıl daha yaşatmasını istiyordu. Kanseri ilerlemiş bir kadın ve ağır bir sorumluluk yüklenen doktorunun hikayesi… Prof.Dr. Mert Erkan anlatıyor. Melike Şahin ile #HiçUnutmam

Altuğ Karataş'ın hazırlayıp sunduğu programa Çabasan Tekstil Sürdürülebilirlik Müdürü Melike Kocabaş konuk oluyor.

Altuğ Karataş'ın hazırlayıp sunduğu programa Çabasan Tekstil Sürdürülebilirlik Müdürü Melike Kocabaş konuk oluyor.

3+3'ün 139. bölümünde konuğum Uzman Psikolojik Danışman, Aile Danışmanı Melike Uslu Taş.

Ateş ve kilo kaybı ile doktora başvurdu ama bir türlü tanı konulamadı. Çünkü öyküde bir eksik vardı. Hasta neyi saklıyordu? Prof. Dr. Atahan Çağatay anlatıyor. Melike Şahin ile #HiçUnutmam

“Yaşlanmadan, yaşlılığımıza yatırım yapmalıyız!” 91 yaşında demans tanısı konan, günde 11-12 ilaç alan hastası, ilaçların yarısını kesince iyileşti. Üstelik demans olmadığı da anlaşıldı. Geriatri uzmanı Prof.Dr. Bülent Saka anlatıyor. Melike Şahin ile #HiçUnutmam.

Aşırı kaygılı olmak zarar verir peki umursamazlık neye mal olur? Bir yıl önce yaptırdığı biyopsiyi, başka bir hastanede biyopsi yapılırken hatırlayan hastanın öyküsü... Prof.Dr. Sait Gönen, Melike Şahin'e anlattı. #HiçUnutmam

Kariyer yönetimi. PES'i YouTube'da izlemek için: https://youtu.be/VowR9yvS1oc İletişim: ⁠⁠⁠pes@jiklet.com

Me Like… the Rock BoatSummary The BoatCast is excited to welcome TRB XXIII artist, Me Like Bees discusses their experience on their first Boat. Relive all of their favorite moments as they recap, performances, fan interactions, and cabin shows. They open up about their unique practice of sending medals to their top Spotify streamers. The band shares their recent visit to Sixthman in Atlanta and their ongoing tour. They explain their creative process and how their latest single, 'Stay Safe,' was developed. In this conversation, Luke and Jake from Me Like Bees discuss their songwriting process, the formation of the band, their Patreon and fan support, their experience on the Rock Boat, their favorite venues, the craziest atmosphere they've played in, and their appreciation for the podcast. Me Like Bees has a Patreon page where fans can support them and receive exclusive content. Check it out at: https://www.patreon.com/melikebees Chapters 00:00 - Introduction and Boat Experience 02:45 - Performances and Fan Interactions 06:02 - Cabin Shows and On-Board Activities 08:48 - Medals for Top Spotify Streamers 11:59 - Post-Boat Activities and Sixthman Visit 20:17 - Songwriting Process 22:25 - Band Formation 25:37 - Patreon and Fan Support 27:03 - Rock Boat Experience 28:09 - Favorite Venues 30:19 - Craziest Atmosphere 32:39 - Appreciation for the Podcast 35:30 - Closing Remarks Stay Connected with Me Like Bees: Facebook: https://www.facebook.com/melikebees/ Instagram: https://www.instagram.com/melikebees/ X (formerly Twitter): https://twitter.com/melikebees/ Spotify: https://open.spotify.com/artist/6b0G9aPXmaLLDWJHhCrv1Q Apple Music: https://music.apple.com/us/artist/me-like-bees/445558593 BandsInTown: https://www.bandsintown.com/a/1180100-me-like-bees The BoatCast would like to thank our sponsors, www.TheFITCollective.com for supporting us in promoting Rock Boat Artists. If you want to get the word out about these artists and are interested in sponsoring The Boatcast, please email Chris at: ChristopherRhoad@gmail.com.

READ A TRANSCRIPT OF THIS EPISODE.In this special episode, we honour the poetry legend that is Benjamin Zephaniah by sharing this conversation with poet Roy McFarlane, talking about 'Dis Poetry' and the hugely influential part Benjamin Zephaniah has played in Roy's life.Roy McFarlane is a poet born in Birmingham of Jamaican parentage. He has held the roles of Birmingham's Poet Laureate, Starbucks' Poet in Residence and Birmingham & Midland Institute's Poet in Residence. He has three collections published by Nine Arches Press: Beginning With Your Last Breath (2016); The Healing Next Time (2018), which was shortlisted for the Ted Hughes Award, and Living By Troubled Waters (2022). In 2023, Roy McFarlane was appointed a Fellow of the Royal Society of Literature.Benjamin Obadiah Iqbal Zephaniah (15 April 1958 – 7 December 2023) was a British writer, dub poet, actor, musician and professor of poetry and creative writing. He was included in The Times' list of Britain's top 50 post-war writers in 2008 and was probably the most televised poet of his generation in the UK. His down-to-earth mission to take poetry wherever he could – and especially to those who would not normally read it – led him to being known to millions as ‘The People's Poet. Zephaniah was revolutionary in bringing his Jamaican voice, speech and heritage into poetry – both on the page and in performance – opening up doors for many poets to come. A lifelong activist, Zephaniah's wrote about his lived experiences of incarceration and racism, and was a radical voice for freedom, equality and humanity around the world. The recording of 'Dis Poetry', performed by Benjamin Zephaniah, is taken from To Do Wid Me - a 2013 film portrait of Benjamin Zephaniah by Pamela Robertson-Pearce drawing on both live performances and informal interviews. The film and accompanying Selected Poems are available from Bloodaxe Books: https://www.bloodaxebooks.com/ecs/product/to-do-wid-me-dvd-book--1038.Roy McFarlane's extraordinary poem 'In the city of a hundred tongues' is taken from his collection The Healing Next Time, published by Nine Arches Press in 2018.Roy McFarlane is in conversation with Fiona Bennett and Michael Shaeffer.*********Dis Poetryby Benjamin ZephaniahDis poetry is like a riddim dat dropsDe tongue fires a riddim dat shoots like shotsDis poetry is designed fe rantinDance hall style, big mouth chanting,Dis poetry nar put yu to sleepPreaching follow meLike yu is blind sheep,Dis poetry is not Party PoliticalNot designed fe dose who are critical.Dis poetry is wid me when I gu to me bedIt gets into me dreadlocksIt lingers around me headDis poetry goes wid me as I pedal me bikeI've tried Shakespeare, respect due dereBut did is de stuff I like.Read the full poem on our website. Hosted on Acast. See acast.com/privacy for more information.

Melike Eldem | BENİM BABAM... | 21.01.2024 by Tr724

Join us in Episode 60 of PA Talks for an engaging conversation with Melike Altinisik, founder of Melike Altinisik Architects (MAA). Melike discusses her professional evolution, from her Journey at Zaha Hadid Architects to establishing her own firm, MAA. Throughout the episode, she shares the unique challenges and achievements she has encountered in the architecture and construction industry, especially as a woman in this field. Check Melike Altinisik Architects website: https://www.melikealtinisik.com/ Check out our weekly courses at the PAACADEMY: https://parametric-architecture.com/workshops/ Follow us on: Instagram: https://instagram.com/parametric.architecture/ X: https://x.com/parametricarch/ Facebook: https://www.facebook.com/parametric.archi/ LinkedIn: https://www.linkedin.com/company/parametric.architecture/ Listen to this podcast on: Apple Podcast: https://podcasts.apple.com/tr/podcast/pa-talks/id1503812708 Google Podcasts: http://tinyurl.com/pe7za7uk Youtube: https://youtu.be/rvcUdmjONgM

Organ nakli listesine girecekken kalp pili ile sağlığına kavuştu. Bugün Prof.Dr. Işıl Uzunhasan'ın unutamadığı vakasını dinliyoruz. Melike Şahin ile #HiçUnutmam

Ancak filmlerde olabilecek bir hikaye! Ameliyat masasındaki hastasının aşırı kanaması oldu. Bekleyecek vakit yoktu. Önce kanını verdi, sonra ameliyata dönüp bir de yeni bir akciğer nakletti. Prof.Dr. Erdal Taşçı unutamadığı anısını Melike Şahin'e anlattı. #HiçUnutmam

when I got up on September 25th 2023, while searching for my glasses in the dark, I touched a little mechanical bear TRANSCRIPTION OF EPISODE (bell and breath) Vancouver, September 25, 2023.  You can hear the city in the background as I record this.  When I got up this morning, searching for my glasses, I touched this little mechanical bear… (Cranking up and unwinding of windup toy) It startled me a bit but it was also enchanting and surprising in a good way. I enjoyed listening to it come to a halt. That morning I was thinking about something  I published on my website on September 20th. I'll read it to you.On September 20 2023, I decided to step back from being ‘me', in the sense of letting go of old habits and patterns and adopting other new ways of being and living. This being said, I will continue to respond to invitations when my presence is useful. What do you think about that, little bear?  (Winding up and release of wind up toy) Now this statement reminded me of traps of how I fall into tarps all the time and maybe you do too? Episode 111 of this season presented two traps and I'll play back excerpts from that episode to you now. The first trap is essentially wanting the world to stop and get off. Stop the world I want to get off. Observer: I notice that you've fallen into a trap called ‘exit fixation' which is where people feel a strong urge to walk out on an existing commitment. For example, when someone realises that the path they are on is full of paradoxes, contradictions, and complicities. Often their first response is to find an immediate exit in hopes of a more fulfilling and/or more innocent alternative or maybe even  an ideal community with whom to continue this work.  Me: Like an escape? Observer: Ya, something like that The second trap is about wanting to erase the past and to find some kind of spiritual haven, which, of course, is an illusion :  Observer:. It's called spiritual bypassing and it happens when spiritual ideas or practices are used to sidestep, avoid, or escape sitting with analyses of historical and systemic violence and the difficulties of one's complicity in historic and systemic harm. Do you know what I mean?  Me: Yes I think I do but I don't think I do this. Observer: (interrupting) maybe not consciously but spiritual bypassing often manifests itself alongside with cultural appropriation which is something you think about every time you record a soundscape with that microphone of yours, right?   Me: I see what you mean. You're quite a good observer.  Observer:  thank you but right back at you. Think of me as a guardian angel. Me: Or the devil…  Observer: Whatever (laughter) Now one of the dangers with spiritual bypassing is to project interpretations of ‘oneness' that erase the realities of historical and systemic inequalities, and interpretations of ‘Enlightenment' that tend to reinforce exceptionalism and you tend to do that… Me: Yes, sure, I do, but it's all part of being an artist..  Observer: (interrupting) True but that does not necessarily make it right, does it? Something to think about... Me: (interrupting) That's a lot to think about, to learn and unlearn. What do you think of that, little bear? (Winding up and release of wind up toy) Do you think it's ok to lose one's mind in a mad world? Do you think it's ok to embrace failure as a path towards learning and unlearning? What do you think about grieving our dying planet and sitting with this sadness? (Winding up and release of wind up toy) * Written spontaneously on September 25th 2023 in Vancouver, this episode brought me comfort. Maybe it will bring you comfort as well? I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible). My gesture of reciprocity for this episode is to the reseed podcast. *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

O kurt içine düşmeseydi… Ameliyat masasında kalbi delik bir çocuk, yolunu kaybeden bir cihaz ve şüpheci bir doktor... Prof.Dr. Serdar Kula,yıllar önce yaşadığı ve hala unutamadığı vakayı anlatıyor. Melike Şahin ile #HiçUnutmam

Call to Worship - High Priest Steve Van Meter Hymn - “There's No Love to Me Like the Love” #187 Invocation - High Priest Steve Van Meter Scripture Reading - Priest Bud Lightfoot Hymn - “Look for the Beautiful” #358 Sermon - Priest Bud Lightfoot Hymn - “Savior, Like a Shepherd Lead Us” #395 Benediction - Teacher Paul Van Meter

Oh my Maria, was she the most beautiful girl in China Grove? Even though I was a bit of a ramblin' man, she still loves me like a rock. Whether I was off on that midnight train to Georgia, or on that Rocky Mountain way seeking higher ground, I always kept her photograph close to my heart. She stuck by me through my indiscretions, even those with that lady Angie. Somewhere in those travels, I began to appreciate the love I lost and realized that at home, I had been on the top of the world, close enough to be knockin' on heaven's door. This week we keep on truckin' and take a free ride through the Billboard Top 40 from the Week of November 3, 1973. All I know is that I can't get enough of that funky stuff Link to a listing of the songs in this week's episode: https://top40weekly.com/1973-all-charts/#US_Top_40_Singles_Week_Ending_3rd_November_1973 Data Sources: Billboard Magazine, where the charts came from and on what the countdown was based. Websites: allmusic.com, songfacts.com,  wikipedia.com (because Mark's lazy) Books: “Ranking the 70's” by Dann Isbell, and Bill Carroll “American Top 40 With Casey Kasem (The 1970's)" by Pete Battistini. Rejected Episode Titles: Goodbye Yellow Funky Stuff Love's Me Like a Basketball Ramblin' Man on the Midnight Train to Georgia The Rocky Mountain Way to Higher Ground Space Truckin' Race Top of the World Knockin' on Heaven's Door I Got a Name, it's Tyrone Shoelaces Some points of interest we discussed in this episode: The Brady Bunch Episode “Sergeant Emma”: https://www.imdb.com/title/tt0769855/

#HiçUnutmam "Doğal ve sağlıklı" diye satılan bitki çayında dışkı! Prof.Dr. Esin Davutoğlu Şenol, sık tekrarlayan mide ve bağırsak rahatsızlığı sorunu olan genç, üst sosyo-ekonomik düzeydeki bir hastasında karşılaştığı sonucu ve tedaviyi anlattı. Melike Şahin'in programını NTVRadyo'da kaçıranlar için #HiçUnutmam yeni bölüm

İlk bölümde Pakrat Estukyan ile Karabağ'da ateşkes öncesi ve sonrası yaşanan gelişmeleri ele alıyoruz. İkinci bölümde Estukyan ile sohbetimize devam ederken, Türkiye'nin ve Ermeni toplumunun gündemini konuşuyoruz. Son bölümde ise gazeteci Melike Çapan'ın, hedef gösterildiği için iptal etmek zorunda  kaldığı "Yeniden Buluşacağız" sergisinde  gösterilecek "İmroz'un 1964 Belleği" isimli 19 dakikalık belgeselini sesli olarak dinliyoruz.   

"Ich spreche zwar fließend Türkisch, aber in der Türkei bin ich dann doch die Europäerin und aussehen tu ich auch nicht wie eine Türkin." Melike Dogan ist bei Microsoft zuständig für Events und Social Media. "Die IT-Branche ist innovativ und modern und das hat mich gereizt. Bei uns im Unternehmen beträgt der Frauenanteil ca 39%, dennoch bin ich für die Quote."Auf die Frage wie man Mädchen und junge Frauen für die Technik begeistern kann, ist Melike der Meinung, dass es mehr weibliche Vorbilder in der Branche braucht.Melike Dogan spricht drei Sprachen und meint, dass Österreich sehr wohl offen ist für Mehrsprachigkeit, obwohl "bestimmte Sprachen bevorzugt werden. Türkisch ist keine attraktive Sprache. Ich glaub das ist ein Imageproblem und es hat sicher auch etwas mit der Politik zu tun". Als sie 18 Jahre alt war, wollte sie wie die ehemalige VIVA-Moderatorin Gülcan Karahanci auch Moderatorin werden: "Eine Türkin im deutschen Fernsehen - so wollte ich auch sein."

İlk bölümde Pakrat Estukyan ile Türkiye'nin ve Ermeni toplumunun gündemini, ayrıca Pazar günü kutlanacak olan Meryem Ana Yortusu (halk arasındaki adıyla Üzüm Bayramı) hazırlıklarını konuşuyoruz. İkinci bölümde ise gazeteci Melike Çapan ile hedef gösterildiği için iptal etmek zorunda kaldığı "Yeniden Buluşacağız- İmroz'un 1964 Belleği" sergisini ele alıyoruz. Son bölümde ise işadamı Ersin Tüfekçi ile Ermeni Olimpiyatları'nın Ermenistan'da yarattığı hareketliliği, Türkiye ve Ermenistan arasındaki turizm ve seyahat hacmini konuşuyoruz.   

İlker ve Sezgin bu bölümde yazı domine eden şarkıları ele alıyor. Kylie Minogue'un Padam Padam şarkısının Oxford Sözlüğüne yolculuğunu, Sam Smith ve Madonna'nın Vulgar'ının aksayan noktalarını, Miley Cyrus'un Flowers'ının popülerliğini ve Mabel Matiz'in Melike Şahin için yazdığı Diva Yorgun'u konuşurken konu ünü aktivizm için kullanmaya, Madonna'nın sosyal medyada uğradığı kötü muameleye ve Türkçe pop müzik yıldızlarının LGBTİ+'lara verdiği desteğe geliyor.

Note: the podcast recording was improvised based on this script and therefore has additional material.This 127th episode of the conscient podcast marks the halfway point of season 4, which, as you might recall, is called Sounding Modernity and explores what modernity might sound like, how it affects us and what we can do about it.. Maybe…A heads up that this episode is 57 minutes in duration because it is part of the ‘afield' series of framework radio in Estonia. The season began on January 1 with e101 tension:(Beginning of e101)I was thinking about the tensions in our lives and the art of finding balance points… So I went for a sound walk in Vancouver and came upon a piece of fishing line. I brought it home, strung it up and recorded myself plucking it…(cross fade to the end of e101)Listeners might recall that each episode this season ends with a question:How do you feel now?‘How do you feel now' is actually at the heart of this project. How do one perceive the sounds of our modern world? What does it feel like to absorb these sounds into our bodies? How can we change the way we listen?  How can we move away from the madness of modernity? And if, tragically, we are unable to step away, at the very least, how can we help prepare future generations for what is coming? How can art help? How can listening help? Are we helpless?(Silence then ocean sounds) I've received some interesting responses and reactions to the first 26 episodes and 6 blogs of the project so far, in various forms and channels, for example, this poem from artist and educator Carolina Duque (also known as Azul), submitted on January 3, 2023, about her experience with e101 tension :I walked down the sea line of San Andrés Island, in the Caribbean, as I listened.ListenedFelt the tensiontensIonI grew up on this island. I notice the shoreline getting smaller.I notice the corals turning grey. I notice the buildings growing taller. The overlapping reggaeton and vallenato music from competing speakers.I notice everything getting louder.I notice theTens – ion.I notice the menus saying fish is scarce.I noticeIn my lungs the tension. In my eyes the tension.In my waves, in my feet.The tension.(Ocean sound fade out)My response : I was reading Jenny Odell's ‘How To Do Nothing' book today and came upon this sentence that relates to your response. I quote: ‘I hold up bioregionalism as a model for how we might begin to think again about place' (end of quote), which to me means that we need to be stewards of the land, wherever we are, in collaboration with all living beings. I documented almost all of the feedback I received from listeners in my monthly conscient blog on conscient.ca. I am grateful for these gifts of knowledge and insight. (e102 aesthetics)Most episodes in this podcast are about the relationship between art and the ecological crisis. For example, in e102 aesthetics:The problem with beauty is that it can distract us from reality. Sit with me, please, take a moment. Sit and listen…I've also integrated soundscape compositions in and around the narrative, for example, from e103 heat:(end of e103)This thing is smart. Everything talks to each other. I would just leave it on auto and let it choose what it wants to do.  What does decarbonization sound like to you?How do we decarbonize our lifestyles? One way is to rethink the way we use energy in day to day life, for example, in e110 - drain, I talk about water : (beginning of e110)It goes down the drain (again) and into the sewer system to be processed and dumped into the Ottawa river, then it evaporates into the sky and it rains back into our lakes and rivers, bringing with it with many pollutants, and then is pumped into our homes, in our bodies and heated until… A friend, artist Maria Gomez, shared this response to e110 on March 6:Only the water doesn't stay in the Ottawa region, as it travels south in the moist of the clouds all the way to the Patagonia glaciers, and in ocean currents to Asia and its skies and then it travels up the Arctic… the water I bathe in contains my cells that are distributed around the world, and particles from the world touch me in the water.I responded:It's true that water travels in us, through us and beyond. The sound of water can be either pleasant or a signal of danger but either way we need to listen and understand the language of water…Some episodes call upon quotes from previous episode such as photographer Joan Sullivan in e96 from season 3 which I used in e106 fire : (near the end of e106)And it suddenly dawned on me that I, my hands, weren't shaking up because of the cold, but because of an anger, you know, this deep, profound anger about our collective indifference in the face of climate breakdown. Wait, we're just carrying on with our lives as if you know, la la la and nothing, nothing bad happening. So there was this sense of rage. I mean, like, honestly, it's surprising how strong it'd be in a violent rage just sort of coming outta me. I wanted to scream, and I just, you know, took my camera and just moved it violently, right? Left up, down the, and almost, I suppose, it was almost like I was drowning in the water. You know, my arms are just doing everything. And I was holding down the shutter the whole time, you know, 20, 30, 40 photos at a time. And I did it over. And oh, I was just, I was just, I was just beside myself. And you know, you at some point, you just stop and you're staring out at the river. And I just felt helpless. I just didn't know what to do…I hear you dear Joan. I also do not know what to do.I also called upon climate activist and politician Anjali Appadurai from e23 in season 2 in e114 :(middle section of e114 privilege)Privilege can go back as far as you wanted to go back, right? And of course it's so nuanced. It's not every white guy has this much privilege, but you do have a privilege that goes back hundreds of years and I think one aspect of privilege, one that a lot of people leave out, is this economic aspect, right, of class and resources. And that is not often talked about in the climate conversation, but it's a huge piece of it. Because when we talk about the extinction of our species, this extinction doesn't happen overnight. It happens in a spectrum. Who are the last ones standing? Those with the most resources and who are the first ones to go? It's those with the least, the most disenfranchised. So I don't think you can talk about climate without talking about privilege ultimately. And I think it's on each of us to unpack that for ourselves and to bring that into the conversation.(field recording of natural soundscape from Florida)The most ambitious episode so far has been e112 listening, which I presented as my keynote speech at the World Forum for Acoustic Ecology (WFAE) conference Listening Pasts - Listening Futures, in Florida. It actually runs for over 10 minutes so I broke my own rule here of having only 5 minute episodes but I decided to go with the flow when an episode needed more time. Why not? Here the final sequence from e112: (from the end of e112)Conclusion 5 :  connect our effortsTodd Dufresne, e19: ‘Whoever survives these experiences will have a renewed appreciation for nature, for the external world, and for the necessity of collectivism in the face of mass extinction.'Asad Rehman, Green Dreamer podcast (e378) : ‘Our goal is to keep our ideas and policies alive for when the politically impossible becomes the politically inevitable'. George Monbiot, tweet November 13, 2021 :  ‘We have no choice but to raise the scale of civil disobedience until we have built the greatest mass movement in history.'My question to you is ‘how can listening help'?During the performance I walked out of the room at the Atlantic Center for the Arts in New Smyrna Beach around the building asking that same question :How can listening help?(Recording from live performance of my keynote) Each episode of this season has a different aesthetic, a different style, depending on my inspiration, mood and what I am learning or unlearning on any given week. For example, some episodes feature unedited field recordings, such as the subway in Montreal in e120 metro where I invite you, the listener, to sit with the sound and let it speak to you, as if the sound were a living entity, which, I think, it is.(beginning of e120)Sometimes we just have to stop and listen. Without passing judgement. Just listen…. Sometimes we just have to stop and listen.Another example is the sound of freezing rain on a canopy of hard snow in a frozen forest in e122 quiet:(middle of e122)I suspect this one might seem a bit boring for some listeners because not much happens, but I enjoy listening to quiet spaces and tuning into more subtle sonic patterns and layers of sound and silence.(end of e122)When I launched Sounding Modernity in December 2022 I wrote that my intention was to :Address some of the causes of this massive and violent overreach of planetary boundaries but also to explore how we can preserve some of modernity's benefits, without the destruction.In retrospect I realise this was a very ambitious goal but also pretentious and sometimes naive. I soon realized that failure was not only inevitable but necessary in order to experience boundaries and limitations.Here's a quote from the Gift of Failure teaching by the Gesturing Towards Decolonial Futures collective in my February blog :We chose the word “gesture” for the title of our collective to underscore the fact that decolonization is impossible when our livelihoods are underwritten by colonial violence and unsustainability. The food we eat, the clothes we wear, our health systems and social security, and the technologies that allow us to write about this are all subsidized by expropriation, dispossession, destitution, genocides and ecocides. There is no way around it: we cannot bypass it, the only way is through. How we fail is important. It is actually in the moments when we fail that the deepest learning becomes possible and that is usually where we stumble upon something unexpected and extremely useful. Failing generatively requires both intellectual and relational rigour.One of my favorite failures is e121 rumble where I impersonate a superhero, Dr Decibel, in Stanley Park in Vancouver.  It's pretty hokey and raw but I like the way it explores storytelling and fantasy.This is Dr. Decibel. Your sonic superhero on the unseated ancestral territories of the Musqueam, Squamish and Tsleil-Waututh Nations otherwise known as…  Well, I think you know where I am. (plane passing by). You have a problem here people. The low frequencies are excessive : traffic, industry, ventilation. Layers and layers of rumble and I hate rumble. Rumbleeeee is not something that I enjoy, so I'm going to use my superpowers today to reduce the amount of rumble in your city. Ruuuuumble… (imitation of rumbling sounds)(middle section of e118)Another failed episode was e118 toilet about shit. My intention here was to comment upon composting, both literally and figuratively. Vanessa Andreotti talks eloquently about shit in her book Hospicing Modernity but instead of addressing the issue head on, I took the easy way out and produced an episode with the statement ‘where does your shit go' accompanied by four recordings of toilets flushing, which does not directly address the issue, but it's a start. And, to be honest, I was attracted by the rich sound of the toilet refilling and the silence that follows when it is full, waiting to flush, again and again, precious water in a wasteful cycle of flushing away our issues…(beginning of e118 toilet)(bell and breath) where does your shit go? (toilet flush 1)On April 25 my dear father in law Robin Mathews passed away of pancreatic cancer. His illness was on mind throughout the first half of the project. I had the privilege of recording him reading his last poem, deeper into the forest, in February 2023, at his home in Vancouver, in one take. I published it 2 days before his passing in both audio and video format. Here is how e117 deeper into the forest ends: (end of e117)You know the voicesAnd you know they cannot shape wordsthat will break the surface over your head.Lights flash in the skies above, Dart through the water. But words do not form.The surface above you,Which you cannot break through.Closes….In the darkness that moves toward youAs if a living creatureThe voices fade away … or seem to fade away,And you know the surface above your headWill not break.The voices beyond the surface Will grow distant and imperfectAnd you, quite alone, will move deeper into the forest.(sound of forest from Kitchener, Ontario) I received this comment from listener Cathie Poynter, a former student and friend of Robin's, on May 8 about this episode:This is so wonderful to hear, see, feel and read. Beautifully done, the poem, the paintings, the voice, all of the sounds. It is like reaching from beyond, to tell us where, and how to move through further into the depth of the forest: of reality, life, and death. I think it is very profound. It gives me hope that we all must go on this journey. He has captured the experience I feel of time and eternity.I also wrote a one person play during this time called e111 traps, which explores some of the traps in our live :(beginning of e111)(bell, breath and occasional balloon sounds)Me : Have you ever had the feeling that you were being observed?Observer : I'm observing you. Me: Who are you and what are you observing? Observer: Ah, well, I'm a part of you and  I'm observing the traps that you tend to fall into.Me:  Traps?Observer : Do you remember the Facing Human Wrongs course you took during the summer of 2022?Me: Ya.Observer: The one about navigating paradoxes and complexities of social and global change and all those trappings along the way?Me: Ya, I remember. Easier said than done, though.Observer: YaMe: So. What are you observing? Observer : Well, what can I say? I notice that you've fallen into a trap called ‘exit fixation' which is where people feel a strong urge to walk out on an existing commitment. For example, when someone realises that the path they are on is full of paradoxes, contradictions, and complicities. Often their first response is to find an immediate exit in hopes of a more fulfilling and/or more innocent alternative or maybe even  an ideal community with whom to continue this work. Me: Like an escape?Observer: Ya, something like thatI've also had the privilege of receiving insightful feedback from listeners about the conscient podcast as a whole, such as this email on May 16 from a friend who asked to remain anonymous:So grateful to have been able to listen and stay close to your work. It's wonderful to witness, feel and sense into the different layers and movements over the course of the episode and throughout the arc of the season so far. It's almost as if the story of Sounding Modernity is being stitched by the sounds, walks and episodes and shape-shifting it into this surprising creature (sometimes scary, sometimes funny, sometimes visible, sometimes fictional…). I wonder how else the story of Sounding Modernity will further weave itself (both in/out of control) as you continue to loosen even more of your grips on it, slowly and gently. I like how humor mixes with pain and poetry mixes with interviews, and ocean mixes with toilet shitty waters. The playful and surprising diversity is fun. It's even clear that you are both struggling and having so much fun, which adds honesty and trust in wanting to go with you on the inquiry. As you approach the middle of your journey, what might be needed at this time to invite further and what might be ready to be released into new soils? May more sounds reveal/be revealed.I responded:Your point about how Sounding Modernity might unfold in/out of control is a good one as I approach the midpoint in the project on July 1. I'm coming to terms with its failings, surprises and unanticipated unlearnings. The isolation in particular has been bewildering.  I think I have already ‘lost my grip on it', in a good way. I have essentially given up on it being a ‘exploration of the sounds of modernity' - which was quite pretentious anyway - but rather, as you suggest, has become a portrait of my struggles and discoveries through the sounds of modernity.Let me expand a bit on that idea of isolation. I hoped this project might engage the arts community in dialogue with me and each other about these existential issues, which is why each episode ends with a question. It's meant to be a prompt or an invitation but not a rhetorical enquiry. My expectation was that it might interest artists and others who are in a similar frame of mind as I am, you know, dealing with eco anxiety and eco grief and so on.For example, on June 7, Jean-Marc Lamoureux wrote about episode e123 maps: When it comes to unknown possibilities for humanity, it is important to acknowledge that our knowledge and understanding of the world are limited. There are areas in science, technology, philosophy, and exploration that remain largely uncharted. New discoveries, innovations, and breakthroughs are possible in these domains and could unveil unforeseen possibilities. It is also important to note that the future is uncertain, and it is challenging to accurately predict what will unfold. Technological advancements, social and political changes, as well as unforeseen events, can all shape the future of humanity in unexpected ways. To address the uncertainty of the future and the challenges of the ecological crisis, it is crucial to foster an open, inclusive, and collaborative approach. Encouraging research, innovation, and exploration across relevant fields, as well as promoting sustainability, environmental conservation, and social justice, are essential. We must also recognize that the future of humanity is closely intertwined with our relationship with the Earth and the other living beings that inhabit it. Taking care of our planet and living in harmony with nature are vital. … Thank you for your attention and for engaging in deep reflection on these important questions.I responded:I agree that we need to keep a positive attitude and that there is much we do not know. I quote writer Rebecca Solnit in episode 19, who said ‘hope locates itself in the premises that we don't know what will happen and that in the spaciousness of uncertainty is room to act'. My point in e123 was to share my stress (and distress?) about where we are at and where we might be going. … What concerns me most is our deep disconnection with nature, which has been in the works for centuries and is killing us all. … So, Jean-Marc, I don't think innovation will help if it is built on a self-destructive model. … Certainly doomism does not help, but neither does naïve hope. …So, it's July 1st 2023 and I'm at the halfway point in this project. 26 episodes done with 25 to go.What's next?Well, to be honest, and I admitted as much in e123 maps, I really don't know. (e123 maps section of scrunching piece of paper)So these are the five elements on my map: mitigation, adaptation, tipping point line, survival and recovery, but the problem is that I'm wrong. The map is wrong.  The truth is that I don't know.  There are endless possibilities and dimensions that I'm not yet able to conceive or understand and yet sometimes, somehow, I can feel them. So I'm done with drawing maps and speculating with thoughts and ideas. Instead, I'm going to listen to the intelligence of my body, to the intelligence of non-human beings around me, to other forms of knowledge and beings that are emerging, and see where that takes me. I thought of erasing it all and returning the funds to the Canada Council and becoming a monk or a hermit.I expressed this sadness and grief at the end of my June blog as follows: I was reminded today of the Gesturing Towards Decolonial Futures collective's SMDA Compass teaching about how to walk a tightrope between desperate hope and reckless hopelessness. It's a fine line … but these days I've fallen into a deep cavern of hopelessness but not (yet) recklessly.Speaking of erasure, I notice recently that Catherine Ingram, the brilliant buddhist scholar and philosopher who has deeply influenced my learning journey, wrote on her website, in reference to her seminal essay, Facing Extinction, that:I wrote the long-form essay ‘Facing Extinction' in early 2019.  Over these past years I have occasionally been able to update the information and perspectives contained therein. However, I am finding that the speed with which the data is changing and the pressing issues that we are immediately facing, such as the exponential rise of artificial intelligence and transhumanism, have made some of this essay obsolete.  I have thus decided to remove it.Her statement reminded of this prescient quote from Facing Extinction that I used in episode 19 :(middle of e19 reality)Love, what else is there to do now?  Here we are, some of the last humans who will experience this beautiful planet since Homo sapiens began their journey some 200,000 years ago. Now, in facing extinction of our species, you may wonder if there is any point in going on.  Catherine, you're right that love is what we must do, and be. It might be all we can do, and be. So where do we go from here? Is there any point going on?(long silence)What do you think? More importantly…(end of e101 tension)How do you feel now?After quite a bit of thought, I decided to finish what I started, every Sunday, through to episode 153 on December 31st and see what happens. What can I learn and unlearn? What can I slow down or undo? I'm actually quite excited about part 2 of this project. In particular I want to explore the idea of inviting listeners differently and releasing materials into new soils.Thankfully, I don't have to do this work alone. I have the privilege of working with a number of great collaborators, including content advisors Azul Carolina Duque and Flora Aldridge, translator Carole Beaulieu, communications advisor Jessica Ruano,  web designer Ayesha Barmania and countless friends and colleagues who provide feedback and support. Thank you for your input and trust. I'll leave you with an excerpt from an episode in development. Thanks for listening and take care.(crows in city with rumble + various nature field recordings)*I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to Living Dharma. *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

İBB Miras tarafından restore edilerek İstanbulluların kullanımına açılan Casa Botter'in ilk sergisi 'Düşler ve Hakikatler'i küratör Melike Bayık'la konuşuyoruz.

Melike Şahin, Kutiman, Dijf Sanders and Ah! Kosmos discuss combining lyrics with music, working with others over long distances, and their favourite parts of the collaboration process. Melike Şahin was born in Istanbul, and developed a great interest in music as a child. After university she worked with Turkish psychedelic group Baba Zula, before beginning her solo career in 2017. Her sound navigates across Middle Eastern and Anatolian pop, and she collaborates with musicians from all over the world. Kutiman is an internationally revered producer, composer and animator from Israel who is constantly creating. He's known for his dance and groove-orientated style, and prolific productions. He's also responsible for the Thru You series, in which he mashes together unrelated YouTube videos to create original tracks. Dijf Sanders is a Belgian multi-instrumentalist and composer who specialises in experimental music and field recordings. Previously a member of synth-pop bands Teddiedrum and The Violent Husbands, his sonic universes explore electronica, jazz and psychedelia, enriching his sound with influences from across the world. Turkish composer, producer and performer Başak Günak, also known as Ah! Kosmos, uses polyrhythms and electronic composition to build immersive, mystical worlds of sound. Her works and sound installations have featured in festivals and institutions across the world, and as a performer she's supported the likes of Sigur Rós, James Holden, and Radiohead's Jonny Greenwood.

Bir hamilenin çürük dişi ve hastalık geçmişi nelere yol açabilir? Prof.Dr. İftihar Köksal anlatıyor. Melike Şahin ile #HiçUnutmam

"I feel a sense of belonging when I am surrounded by people who care about me, and people who are sincere to me."In this episode, we'll be exploring the story of Landed co-author Melike Tasdelen, an immigrant woman who defied cultural norms to pursue her education and economic opportunities. Coming from a part of the world where society values women based on their roles as wives and mothers, Melike's journey of self-discovery and determination to succeed is inspiring. She moved from Turkey to Canada by herself after graduating from accounting in 2013. She also has a degree from Southern Alberta Institute of Technology and works as an accountant. Join us as we delve into her story of struggle and triumph, and learn how she navigated societal expectations as well as the additional obstacles of starting from scratch as an international student. campfirekinship.comIG: @campfire_kinship

"Jetzt sind wir so weit, dass Türken Richter werden" hat man mal angeblich über sie gesagt. Ob das aber stimmt, weiß die erste türkischstämmige Richterin Österreichs, Melike Yolsal, bis heute nicht.Während des Gerichtsjahrs hat man ihr nahegelegt, Richterin zu werden - "geplant habe ich das aber nie". Sie ist gerne Richterin und übt nach wie vor gerne ihren Job aus, "weil ich darin einen Sinn sehe". Auf ihre Herkunft wurde Melike Yolsal aber zum Glück nie reduziert. "Ja, da bin ich sicher privilegiert, aber ich denke, wenn der Wille da ist, dann schafft man (fast) alles."Über ihre Erfahrungen mit der türkischen Sprache im Gericht, über das Gehalt des Richteramtes und über einen Fall, an den sie noch heute denkt, spricht sie mit Eser Akbaba.Spoiler: Frau Rat verkündet ein Urteil auf gsibergerisch...  

(bell, breath and occasional balloon sounds)Me : have you ever had the feeling that you were being observed?Observer : I'm observing you. Me: Who are you and what are you observing? Observer: Ah, well, I'm a part of you and  I'm observing the traps that you fall into.Me:  Traps?Observer : Do you remember the Facing Human Wrongs course you took during the summer of 2022Me: Ya.Observer: The one about navigating paradoxes and complexities of social and global change and all those trappings along the way?Me: Ya, I remember. Easier said than done, though.Observer: YupMe: So. What are you observing? Observer : Well, what can I say? I notice that you've fallen into a trap called ‘exit fixation' which is where people feel a strong urge to walk out on an existing commitment. For example, when someone realises that the path they are on is full of paradoxes, contradictions, and complicities. Often their first response is to find an immediate exit in hopes of a more fulfilling and/or more innocent alternative or maybe even  an ideal community with whom to continue this work. Me: Like an escape?Observer: Ya, something like thatMe: BTW where are those balloon sounds coming from?Observer : Oh, that's from your imaginationMe: hum. It sounds like …Observer: (laughter) it could be anything Me: OK. Anyway, what else do you see?Observer: Well. I also see a trap called proselytizing which happens when people try to teach and convince others that a particular issue of interest should be the most important thing for everyone. Me: Wait a second, I do that all the time as a climate activist and with my art and ecology podcast and… Observer :(interrupting) of course you do and well you should - no worries - but, the danger is that your work could be perceived as an effort to assert ‘moral high ground' and while this trap may be driven by a genuine passion for an issue, and you certainly are passionate about your work, it has the potential to impose onto others in a way that does not respect their own un/learning journey, and often actually has the opposite effect, pushing people away rather than inviting them in. Me: ok. Ya, I see. Let me think about that.Observer: Sure and when this trap occurs, it can be useful to ask, you know, why do I need to teach or convince or inspire others about my learning experience? Where is this perceived need stemming from?  And if you really feel you need to bring something to the attention of others, maybe you can ask yourself: What is the most pedagogically responsible and effective thing to do so that your message can land?Me: ok. What else? Observer:  I also see some virtue signalling and self-righteousness trappings, which is when you assert yourself  as having the best, most righteous, most critical, most insightful, most creative, most valid or, the most marginalised perspective. Observer: This approach tends to be focused on wanting to be seen in a certain way by others or by oneself, and may be motivated by a desire to minimize or deny one's complicity in harm. Me: maybe subconsciously, but it's a catch 22, isn'it ?Observer: (interrupting) more like a labyrinth or a dilemma that you need to sit with… You remember when Donna Haraway says that we need to ‘stay with the trouble'. Something like that. (silence) ok. one last trap?Me: SureObserver: This is a tough one for you. Me: hum…Observer: Hey I need you to be strong here buddy, okMe: Ya ya ya I'm listening Observer:. It's called spiritual bypassing and it happens when spiritual ideas or practices are used to sidestep, avoid, or escape sitting with analyses of historical and systemic violence and the difficulties of one's complicity in historic and systemic harm. Do you know what I mean? Me: Yes I think I do but I don't think I do this.Observer: (interrupting) maybe not consciously but spiritual bypassing often manifests itself alongside with cultural appropriation which is something you think about every time you record a soundscape with that microphone of yours, right?  Me: I see what you mean. You're quite a good observer. Observer:  thank you but right back at you. Think of me as a guardian angel.Me: Or the devil… Observer: Whatever (laughter) Now one of the dangers with spiritual bypassing is to project interpretations of ‘oneness' that erase the realities of historical and systemic inequalities, and interpretations of ‘Enlightenment' that tend to reinforce exceptionalism and you tend to do that…Me: Yes, sure, I do, but it's all part of being an artist.. Observer: (interrupting) True but that does not necessarily make it right, does it? Something to think about...Me: (interrupting) That's a lot to think about, to learn and unlearn.Observer:  what are the traps in your life? *This episode is longer than the usual 5 minutes ( 7 minutes) because that's how long it took to tell this story.This episode  comes from learnings I received from taking the Facing Human Wrongs course during the summer of 2022 with support from Azul Carolina Duque.The sound of balloon came to me while I was deflating a balloon while creating sound for a theatre production called Why Worry About their Future, produced by my colleague Sanita Fejzić, as part of the undercurrents festival here in Ottawa, when I realised that the sound of air being released from a balloon was the right sound to accompany this 2 person play. I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this episode. (including all the toxic materials and extractive processes behind the computers, recorders, transportation and infrastructure that make this podcast possible).My gesture of reciprocity for this episode is to the South American Indigenous Network Emergency Fund (second donation). *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

İlk bölümde Pakrat Estukyan ile Türkiye'nin ve Ermeni toplumunun gündemini konuşacağız. İkinci bölümde Asena Günal ve Tamar Nalcı, 20. kuruluş yıldönümünde Anadolu Kültür'ün faaliyetlerini ve yeni projelerini anlatacak. Son bölümde Melike Çapan ile  "Yeniden Buluşacağız: İmroz'un 1964 Belleği" sergisini konuşacağız.

‘Look at Me Like a Human Boy!' An oral history of Clifford, the 1994 cult comedy about a deranged little boy played by Martin ShortBy Rob Turbovsky https://www.vulture.com/article/clifford-martin-short-oral-history.htmlBrendan Shields:Smash TV: youtube.com/user/smashtvmusicSparkle Motion: mixcloud.com/sparklemotionSwish FM is Chris Wendelken and Ben Craw.SWISH FM:Web: SwishFM.comEmail: swishfmradio@gmail.comTwitter: @SwishFMRadioInstagram: @SwishFMRadioApple: apple.co/2NXjMP8Stitcher: stitcher.com/s?fid=342861Spotify: spoti.fi/2T7ZmjYGoogle: bit.ly/32KIiWsiHeart: ihr.fm/312LC1lMUSIC: Artist: LetheretteAlbum: Brown Lounge, Vol. 1Title: Montego FuzzLabel: WulfApple: apple.co/2kyOBLOSpotify: spoti.fi/2kqAhoT