Podcast appearances and mentions of michael asher

I first discussed Lawrence of Arabia by Ranulph Fiennes over an evening mezze in Jordan with a senior civil servant. With myself stationed in Jordan - Lawrence's old backyard - and him working on Middle Eastern defence policy from the UK, we find ourselves, somewhat sheepishly, admitting a shared disappointment. We both expected more. What we encountered was a curious blend of personal memoir, travelogue, and partial biography that struggled to bring T.E. Lawrence meaningfully to life. Ranulph Fiennes, famed adventurer and former soldier, sets out to retrace Lawrence's footsteps across the Middle East. It's a promising concept: a man of notable action revisiting the deserts that shaped a legend. Yet the execution falters. Fiennes repeatedly draws comparisons between himself and Lawrence, highlighting his own limited Arabic, failed training attempts, and military frustrations. These reflections seem less like acts of humility and more like a veiled attempt to position himself within the Lawrence mythos. In doing so, Fiennes's personal shortcomings become a distraction and end up pulling the reader away from, rather than toward, a deeper understanding of Lawrence's legacy. More troubling, the book does little to situate Lawrence within the broader strategic tapestry of the First World War. It gestures at the geopolitical stakes but rarely lingers long enough to add analytical weight. Lawrence - the man, the myth, the contradiction - remains frustratingly distant. There is little exploration of what made Lawrence so tactically and politically distinctive - his use of mobility and surprise in guerrilla warfare, his attempts to unify disparate Arab tribes under a single campaign, or his complex relationship with British imperial objectives. On the rare occasions when the narrative gains momentum and begins to offer something substantial, Fiennes abruptly shifts focus back to his own anecdotes, jolting the narrative like a kick to the shins. This contrast is thrown into sharper relief when compared to authors who have succeeded where Fiennes has not. Michael Asher's Lawrence: The Uncrowned King of Arabia offers a far more grounded, critical engagement with both Lawrence's strategic brilliance and inner turmoil. Even Scott Anderson's Lawrence in Arabia manages to tell a multi-threaded geopolitical story while still rendering Lawrence vivid and contradictory. In contrast, Fiennes remains oddly disinterested in the world Lawrence helped shape. Instead of offering readers insight into a region still grappling with the legacy of imperial meddling, he offers sunburn, sore feet, and a sense of being out of place - both geographically and literarily. To the military reader, this book might offer a surface-level introduction to Lawrence and the Arab Revolt. It could serve as a light primer for those unfamiliar with the geography or tone of the campaign. Where the book does show brief promise is in its occasional glimpses of the emotional toll the campaign took on Lawrence, hinting at the inner strain behind the myth. These fleeting moments offer a rare glimpse of the man behind the legend. But for anyone seeking serious insight into Lawrence's irregular warfare, adaptation to Arab cultural dynamics, or the early complexities of building 'partner' capacity in fluid and unfamiliar terrain, this book will fall short. In the end, Lawrence of Arabia reads less like a serious study of a singular historical figure and more like a tribute to Fiennes's own uneven Middle Eastern journey. A mirage of a book - promising from afar, but ultimately offering little substance once approached.

In 1986, Michael Asher and his wife Mariantonietta Peru set out to cross the Sahara from west to east, by camel and on foot. Their 4,500 mile (7,200 km) journey is the longest trek ever made by Westerners in the Sahara, and the first recorded crossing from west to east by non-mechanical means.  I read Asher's book about this trip — Impossible Journey — more than twenty years ago, and it's been in my travel literature top ten ever since. We spoke about traveling by camel, Saharan cultures, and what it was like to see the Nile after nine desert months.

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

This week on the Health Wealth Podcast we have an amazing story of overcoming adversity We speak to Michael Asher as he shares his inspirational journey from a horrific motorbike accident, losing the use of his left arm, having to make the decision to have his foot amputated and the long road to recovery he's been on with all the challenges along the way. The one thing that really stands out from this interview is how much your mindset really controls your perspective on life no matter what happens to you. I encourage you to take the time to listen to Michaels story. I can guarantee it will improve how you look at life. Enjoy the show. Some of the main takeaways, His horrific motorbike accident Having to decide to amputate his own foot The huge challenges he met along the way How his accident was "divine" purpose The positive differences he's made to peoples lives How his mindset allowed him to get to where he is today

The family of Michael Asher is still grieving the loss their father, who is believed to have died of a heart attack after he went missing on Christmas Day. The 73-year-old's body was found three days later, in bush in West Auckland. He was the father of Iraena Asher, who disappeared at Piha in 2004 and was never found. Sam Olley has been speaking to the Asher whānau, who say their perception of police has now changed since that loss, nearly 20 years ago.

This functional, polished, granite drinking fountain is an exact replica in granite of commercial metal fountains typically found in schools, business offices and government buildings. Instead of its usual context as interior office furniture, the fountain is placed monument-like on a grass island in the center of UC San Diego's Town Square. The siting of his work is fundamental to its meaning; it is counter posed with a tall American flag and a granite marker commemorating Camp Matthews, a World War II training center and artillery and rifle range which occupied the land on which UCSD now stands. Asher's work projects several cultural references into one modest object, and it is a play on sculpture's historic role as representation. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37814]

This functional, polished, granite drinking fountain is an exact replica in granite of commercial metal fountains typically found in schools, business offices and government buildings. Instead of its usual context as interior office furniture, the fountain is placed monument-like on a grass island in the center of UC San Diego's Town Square. The siting of his work is fundamental to its meaning; it is counter posed with a tall American flag and a granite marker commemorating Camp Matthews, a World War II training center and artillery and rifle range which occupied the land on which UCSD now stands. Asher's work projects several cultural references into one modest object, and it is a play on sculpture's historic role as representation. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37814]

This functional, polished, granite drinking fountain is an exact replica in granite of commercial metal fountains typically found in schools, business offices and government buildings. Instead of its usual context as interior office furniture, the fountain is placed monument-like on a grass island in the center of UC San Diego's Town Square. The siting of his work is fundamental to its meaning; it is counter posed with a tall American flag and a granite marker commemorating Camp Matthews, a World War II training center and artillery and rifle range which occupied the land on which UCSD now stands. Asher's work projects several cultural references into one modest object, and it is a play on sculpture's historic role as representation. Series: "Stuart Collection at UC San Diego" [Arts and Music] [Show ID: 37814]

In this chat Michael talks about his family, training goals, and challenges he's faced living with down syndrome.

Welcome back to Victoria's World. On this episode, Noah chats with Michael Asher about one of the key events during Queen Victoria's reign: the Mahdist war and the Siege of Khartoum. Mr. Asher is a former British SAS and the author of Khartoum: The Ultimate Imperial Adventure. See acast.com/privacy for privacy and opt-out information.

--{ Gore's Theory Fails, but Truth Prevails: "Dr. Will Happer Made Some People Sore, Fired by His Boss, Then-Vice-President Gore, Scientific Facts Clashed with Gore's Prediction, Making Gore's Alarmism All Science Fiction, Facts Gored Gore, Upset Him Forsooth, As He was Writing His Sci-Fi, 'An Inconvenient Truth,' He Told Happer, Facts were Akin to Heresy When They Contradict (Essential) Public Policy, Happer's a Champion with Some Real Integrity, So Three Cheers for Him, a True Celebrity" © Alan Watt }-- Looting of World, Bank Bailouts - "Robber Barons" book, Taxpayer-Funded Railroad Building, Property - Public "Exists to Serve Economy". International Monetary Fund (IMF), United Nations - Weather Change, Air Force - Cities, New Domed Toronto - Man-Made Global Warming - Eco-Worship - "Unfit" Genes. 9-11-2001, Terrorism Hype - War on Drugs, Schools as Prison Camps, Electronic Screening - British Commonwealth, Monarchy. Britain, Classroom Surveillance - Male "Hyperactivity", Drugging, Ritalin - Educational "Tools", Microphones, Cameras - CCTV Monitoring, Spying, "Safety" and "Security". Airport Checkpoints, Humiliation - Israel, "Brain Fingerprinting", "WeCU", Terrorist "Detection", Subliminal Messages, Profiling, Biometric Sensors - Essential Travel Only in Future. "Non-Intrusive" Techniques - Voice Analysis, Emotional Stress - Training for New Society, Brain-Chipping, Predictability, Battle for Your Mind. Understanding, Diverting Direction of Agenda - Thanks for Donations and Purchases to Keep Me (Alan) Going - Finding Truth in Controlled Society - Media, Advertising. (Articles: ["Princeton Physicist Calls Global Warming Science "Mistaken" " by Michael Asher (dailytech.com) - Dec. 23, 2008.] ["The 'nanny state' guide to giving children of five alcohol" by Kirsty Walker (dailymail.co.uk) - Dec. 31, 2008.] ["Big Brother CCTV to spy on pupils aged four - complete with CPS evidence kit" by Jason Lewis (dailymail.co.uk) - Dec. 29, 2008.] ["Behavioral screening -- the future of airport security?" by Dana Rosenblatt (cnn.com) - Dec. 2, 2008.]) *Title/Poem and Dialogue Copyrighted Alan Watt - Dec. 31, 2008 (Exempting Music, Literary Quotes, and Callers' Comments)

THIS WEEK: Duncan and Richard interview James Rondeau, superstar curator and Cecelia Edefalk, superstar artist. We just bought the right to the word "superstar" so we are compelled to use it as much as possible. Stealing liberally from the AIC's press release bank we now paste the following for your enlightenment. "The Art Institute of Chicago presents the first solo U.S. exhibition of Swedish artist Cecilia Edefalk as part of its Focus exhibitions of contemporary art. Double White Venus, a series of 12 paintings all titled Double White Venus, will be on view in Gallery 139 of the museum from February 2 to April 23, 2006. Born in 1954, Edefalk draws viewers in by exploring, through repetition as well as innovative installations, the mechanics of making and looking at painted images. Edefalk works slowly and deliberately, in direct contrast to our high-speed, image-based world; she began Double White Venus in 1999 and completed its 12 paintings over the course of nearly 7 years." James Rondeau is the Frances and Thomas Dittmer Curator of Contemporary Art at the Art Institute of Chicago, and a damn nice guy. He has overseen the significant growth and expansion in recent years of the Art Institute of Chicago's commitment to contemporary art. Brian Andrews our west coast correspondent has really been earning his keep these days. This week he interviews Andrew Bancroft aka the superstar rapper Jelly D. from the brilliant Maximum Wage video. "The son of an ex-pool hustler and former Catholic nun, Andrew Bancroft grew up in Maine, where he developed an early love of acting and music. Andrew graduated with honors from Wesleyan UniversitySan Francisco in 2000. Andrew's many film credits include the title role in Gabriel Angel Of The Lord, as well as directing and starring as rapper "Jelly Donut" in Illbilly's mock music video Maximum Wage . He has many other performance credits, including The Ken and Andy Show and Popcorn Anti-Theater." If you don't go check out www.Illbilly.com your toes will rot off. Names Dropped: Stan Douglas, Anne Goldstein, James Coleman, Michael Asher, Madeleine Grynsztejn, Jeremy Strick, Claude Monet, A. James Speyer, Philip K. Dick, Robert Gober, Francesco Clemente, Robert Ryman, Sean Scully, Buzz Spector, Suzanne Ghez, Francesco Bonami, Thomas Hirschhorn, Lisa Dorin, Chalres Stuckey, Neal Benezra, Anne Rojimer, James Wood, James Cuno, Kenny Taylor, the all important Bob's Donut Shop in San Francisco, CA, and more, more, more NEXT WEEK: Reviews from London, Gallerist Wendy Cooper, maybe some reviews, c'mon I just finished this damn show do I really need to dish about what we have for next week. Sheesh. Cecilia EdefalkStan DouglasAnne GoldsteinJames ColemanMichael AsherMadeleine GrynsztejnJeremy StrickClaude MonetA. James SpeyerPhilip K. DicRobert GoberFrancesco ClementeRobert RymanSean ScullyBuzz SpectorSuzanne GhezFrancesco BonamiThomas HirschhornLisa DorinCharles StuckeyNeal BenezraAnne RorimerJames CunoWendy Cooper

This show has at least 3 shows worth of material. THIS WEEK: Michelle Maynard and Teena McClelland the ladies of Death by Design Co. talk about gore, guts, and their show at Gallery 400! Duncan, Richard and Amanda, rise above the fray and avoid saying snotty things about people related to a certain gallery space, once again, basking the entire time in the soft, warm glow of our moral superiority. Cassie Thornton checks in from NYC! We review Daniel Blanco's show at Flatfile. AND the year end wrap up. Duncan apologizes to the OODA group for being a jerk. We throw down the gauntlet to Liz Armstrong who is writing the Chicago Anti-Social column in the Reader. Duncan hates Anne Goldstein. More singing by all. People name dropped: Daniel Blanco, Michael Asher, Michael Workman, Philip von Zweck, Paul Klein, David Coyle, Mark Booth, Naughty Candy, Bruce Campbell, Jim Faulkner, Jasper Johns, The Booms, David Robbins (WHO IS NOT connected to Death by Design, honest, really, seriously, no foolin'), Readymade Magazine, Stan Shellabarger, Dan Flavin, Scott Speh, Brittney Spears, and Richard offers free legal assistance to Kevin Federline, as he will need it and so so much more. NEXT WEEK: The always controversial and busy Michael Workman, New City art critic, NOVA front man, Art Fair impresario, freelance writer and 92 other things talks about the art biz, pissing people off, the state of the Chicago art scene, and what the future holds, not to be missed! Duncan, Richard and Amanda talk about Maximum Wage! We might even have a piece by a second NYC contributor despite the fact they are too damn rude to spend 1 second and figure out what my name is before they write to us. Links may follow eventually, Duncan has gone back to the motherland.

TEMP SHOW NOTE: Bill Gross, Depart-ment, Duncan MacKenzie and Shannon Stratton at Fraction, and Michael Asher reviewed at last. Okay so this show was edited in a Toyota and in a Holiday Inn in Port Washington Wisconsin. Not our tightest work and we had WAY too much material. Things edited out and that will be worked into future shows include: Bill, Duncan and Richard discussing the current show at the Three Arts Club and the discussion that followed the opening that was lots of complaining, Amanda and Richard discussing a whole bunch of shows and why Gordon Matta-Clark's used Kleenex would probably be brilliant, and Duncan calling for the world to hate Richard as he is evil.Real note to follow soon with appropriate links.65 Grand = wgross@artic.edu Skestos Gallery DEPART-ment Micheal Asher Fraction Workspace