Podcasts about modern art moma

"The people in the audience looked at the pictures, and the people in the pictures looked back at them. They recognised each other." Edward Steichen Eurovision Mania & World News  After a late night commentating, Meredith Moss comes onto my show this week to talk about the second semi-final, featuring Luxembourg's very own Laura Thorn, who made it through to the finals, to be held on Saturday 17th May in Basel. Sasha Kehoe keeps us abreast of the week's news, which is unceasingly heavy. From Russia-Ukraine talks in Istanbul, to UN relief chief Tom Fletcher's scathing account of Israel's denial of life-saving supplies to be allowed entry into Gaza for over ten weeks, thereby leading to starvation. We also talk about Trump's trip to the Middle East, where the Qatari President gave him a gift of a new Air Force One. In Luxembourg news this week, Prime Minister Luc Frieden announced that Luxembourg will increase its defending spending from €800 million to €1.2 billion by the end of 2025, five years earlier than originally planned. He also unveiled changes to the pension retirement age. Family of Man - Edward Steichen The CNA, Centre National de l'audovisuel International Symposium 2025, will celebrate 70 Years of The Family of Man at Clervaux Castle on Saturday May 24 2025. To talk about the life of Edward Steichen, and the legacy of The Family of Man exhibition, I'm joined by:  Claire di Felice, curator and Head of the Steichen Collections at the Centre national de l'audiovisuel (CNA) in Luxembourg. Gerd Hurm, Professor emeritus of American Literature and Culture at the University of Trier, founding director of the Trier Center for American Studies (TCAS), and advisory board member of the Obama Institute for Transnational American Studies at Johannes Gutenberg University Mainz. He is co-editor of The Family of Man Revisited: Photography in a Global Age and author of a widely acclaimed 2019 biography on Steichen. Emilia Sánchez González is a PhD researcher at the University of Luxembourg's Centre for Contemporary and Digital History (C²DH), working on a new transmedia project - FoMLEG (The Legacy of The Family of Man), exploring its international tour during the Cold War (1955–1963) and its history in Luxembourg since 1965. Edward Steichen - photographer curator In 1955, a visionary Luxembourg-American photographer changed the language of photography and its audience. Edward Steichen, then director of photography at New York's Museum of Modern Art (MoMA), unveiled The Family of Man - an exhibition of 503 black-and-white photographs from 68 countries, curated to tell the story of humanity in all its raw, real, and radiant yet connected beauty. Seven decades later, this exhibition lives on at Clervaux Castle and the story it tells still resonates with global audiences of all ages. A Living Exhibition The Family of Man was revolutionary in 1955 as one of the world's first immersive photo exhibitions, not just displaying images, but using scenography, the visual rhythm and space between photos. “You become the film director of your own human experience”,  explained Professor Hurm. The intention was to remind a post-war world that despite borders and ideologies, we have, first and foremost, a shared humanity and a shared earth. It was as much political as it was poetic. “Steichen understood that the medium of photography could be a tool for peace,” Hurm added. “It was democratic, emotional, and immediate.” Home in Luxembourg For Claire di Felice it's about stewardship. Her role is not just about preserving the work but reactivating it, making it speak again. Having initially studied law, Claire returned to her artistic roots to work alongside her father, renowned curator Paul di Felice. Together they co-founded MAI Photographie, a publishing house for limited-edition artist books. “It's strange,” she smiled, “how you try to leave a path and still end up on it.” The Global South's Forgotten Story Emilia Sánchez González is helping to complete the narrative that The Family of Man began. As part of the FNR-funded FoMLEG project (The Legacy of The Family of Man), she is tracking the exhibition's global tour from 1955–1963, with a special focus on its journey through the Global South — Latin America, Africa, Asia — regions often omitted in Cold War history. “We realised we were missing half the story,” said Emilia. “In Calcutta alone, 29,000 people saw the exhibition in one day. That matters. Their perspectives matter.” Her work highlights active audiences, which is what we all are when we pass through such a curated visual storytelling. Education Through Empathy A major part of the CNA's 70th anniversary programming is educational. With crises of war, displacement, and division growing, The Family of Man offers a visual gateway into empathy-based learning. “We've launched a children's audioguide created by children,” Claire shared, “as well as a platform of activities for schools. The aim is to let children interpret and relate to the images on their own terms.”  This is visual storytelling not just for passive viewing, but for active engagement. And it's working. Edward Steichen's Legacy remains relevant  As Professor Hurm's student recently commented, the photos are all in black and white, but they have so much colour. The themes of our lives remain the same. We still see our faces in those who lived and walked this earth 70 years ago. https://eurovision.tv/participant/laura-thorn-2025 https://cna.public.lu/fr.html https://www.uni-trier.de/index.php?id=64580

Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt's 1956 sculpture, Hero's Head.Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city's culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed' his use of metal, as the medium of his time and place.Hero's Head (1956), one of Richard's earliest mature works, was the first among many artistic responses dedicated to the legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till's mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist's use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later works.With the first major European exhibition, and posthumous retrospective, of Richard's work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist's prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of 'African art', referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard's work, and engagement with the natural environment, connecting the ‘red soil' of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site', highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared forms are found in the works of French painters, Wangechi Mutu's Afrofuturist bronzes, and Richard's contemporaries practicing in France, Spain, Italy, and England.Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard's ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens.Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025.Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025.Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997).Hear more about Wangechi Mutu's This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024).For more about Dogonese and ‘African masks' from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠.For more about ‘Negro Arts' exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London.For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now).

This episode is sponsored by SIPA  (Structural Insulated Panel Association)  https://www.sips.org/This episode is part of a series on the Wildfire Rebuild in the Los Angeles and Altadena and EnvironsLink to the Blog for more Images and Resources:  https://inmawomanarchitect.blogspot.com/2025/04/interview-with-david-hertz-faia-of.htmlDavid Hertz, FAIA of SEA Studio of Environmental Architecture https://davidhertzfaia.com/David Hertz, FAIA, Architect founded Syndesis in 1983 and S.E.A. TheStudio of Environmental Architecture, a practice focus on regenerativedesign in an age of resilience. David won the 2022 Smithsonian CooperHewitt National Design Award for Climate Action. in 2018 Hertz won theWater Abundance XPRIZE a 1.5 M prize to make over 2,000 liters of waterfrom air.In 2006 David was awarded the Distinguished Alumni Award fromSCI-Arc and in 2008 he was elected to the prestigious American Institute ofArchitects College of Fellows, as one of its youngest members in its over155-year history. David's award-winning work has been published widelyand exhibited internationally. Some highlights include exhibitions in theMuseum of Modern Art (MOMA), Smithsonian National Museum of NaturalHistory, the National Building Museum, and the Cooper Hewitt,Smithsonian Design Museum. David has taught studios and lectured atYale,USC, UCLA and Art Center.Link to MGHarchitect: MIchele Grace Hottel, Architect website for scheduling and podcast sponsorship opportunities:https://www.mgharchitect.com/

Key References: Museum Collections: The Museum of Modern Art (MoMA) in New York houses Warhol's "The Scream (after Munch)" from 1984, a screenprint measuring approximately 40 x 32 inches. The American-Scandinavian Foundation+1The Museum of Modern Art+1 Exhibitions: In 2018, the Munch Museum in Oslo showcased "Andy Warhol – After Munch," an exhibition highlighting Warhol's series of 15 prints based on Munch's renowned motifs, including "The Scream." Artchive+8Munchmuseet+8Sothebys.com+8 Auctions: Sotheby's and Christie's have featured Warhol's "The Scream (after Munch)" in their auctions, noting the unique color variations and the fusion of Warhol's and Munch's artistic visions. Christie's Artistic Analysis: The Sparebankstiftelsen DNB art foundation discusses Warhol's energetic Pop rendition of "The Scream," emphasizing how he amplified the image's inherent sense of disturbing anxiety. This podcast is powered by Pinecast.

The largest ever exhibition of the work of Jack Whitten opens this weekend at the Museum of Modern Art (MoMA), New York. Ben Luke speaks to Michelle Kuo, the curator of the show, about the political and experimental commitment that drove Whitten's remarkable body of work. In Paris, one of the final exhibitions to open at the Centre Pompidou before it closes for five years was unveiled this week. Paris Noir brings together more than 150 artists from across the African diaspora who were based in, or had notable stays in, the French capital between the 1950s and 2000. Ben went to Paris to speak to Alicia Knock, the lead curator on the show. And this episode's Work of the Week is Arpita Singh's Searching Sita Through Torn Papers, Paper Strips and Labels (2015). It features in a new exhibition of the Indian artist's work at the Serpentine North in London. The Art Newspaper's associate digital editor, Alexander Morrison, spoke to the Serpentine Galleries' artistic director, Hans Ulrich Obrist, about the painting.Jack Whitten: The Messenger, Museum of Modern Art, New York, 23 March-2 August. You can hear Jack Whitten talking about his life and work in the show's audioguide at moma.org.Paris Noir: Artistic Circulations and Anti-colonial Resistance, 1950-2000, Centre Pompidou, Paris, until 30 June.Arpita Singh: Remembering, Serpentine North, London, until 27 July.Subscription offer: enjoy a three-month digital subscription to The Art Newspaper for just £3/$3/€3. Get unrestricted access to the website and app, including all digital monthly editions dating back to 2012. Subscribe here. Hosted on Acast. See acast.com/privacy for more information.

A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   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

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

How do you keep the cracks in Starry Night from spreading? How do you prevent artworks made of hugs or candies from disappearing? How do you render a fading photograph eternal—or should you attempt it at all? These are some of the questions that conservators, curators, registrars, and exhibition designers dealing with contemporary art face on a daily basis. In Still Life: Ecologies of the Modern Imagination at the Art Museum (University of Chicago Press, 2020), Fernando Domínguez Rubio delves into one of the most important museums of the world, the Museum of Modern Art (MoMA) in New York, to explore the day-to-day dilemmas that museum workers face when the immortal artworks that we see in the exhibition room reveal themselves to be slowly unfolding disasters. Still Life offers a fascinating and detailed ethnographic account of what it takes to prevent these disasters from happening. Going behind the scenes at MoMA, Domínguez Rubio provides a rare view of the vast technological apparatus—from climatic infrastructures and storage facilities, to conservation labs and machine rooms—and teams of workers—from conservators and engineers to guards and couriers—who fight to hold artworks still. As MoMA reopens after a massive expansion and rearranging of its space and collections, Still Life not only offers a much-needed account of the spaces, actors, and forms of labor traditionally left out of the main narratives of art, but it also offers a timely meditation on how far we, as a society, are willing to go to keep the things we value from disappearing into oblivion. This interview is part of an NBN special series on “Mobilities and Methods.” Fernando Domínguez Rubio is an Associate Professor at the Department of Communication at the University of California-San Diego. Alize Arıcan is a PhD candidate in the department of Anthropology at the University of Illinois at Chicago. Her work focuses on urban renewal, futurity, care, and migration in Istanbul, Turkey. Nushelle de Silva is a PhD candidate in the Department of Architecture at the Massachusetts Institute of Technology. Her work examines museums and exhibitions, and how the dissemination of visual culture is politically mediated by international organizations in the twentieth century.   Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Artist Shana Moulton's other self, ‘Cynthia,' seeks enlightenment through song, shopping and exercise. Performing the misadventures of her semi-autobiographical alter ego, artist Shana Moulton has drawn attention in the field of new media studies. Over two decades, Moulton, a professor of time-based arts at UC Santa Barbara, has used physical comedy to interpret her artistic creation, “Cynthia,” a wide-eyed ingénue. In Moulton's performance, video and sculpture series, "Whispering Pines" — named after the trailer park in Central California where Moulton grew up — Cynthia often sports a housecoat or spandex and seeks enlightenment through exercise and shopping. Most recently, Moulton presented an extension of “Whispering Pines” — “Meta/Physical Therapy” — at The Museum of Modern Art (MoMA) in New York. (While the work was on view, from Feb. 17 to April 21, 2024, the museum's overall attendance was close to half a million people.) Series: "UC Santa Barbara News" [Arts and Music] [Show ID: 40207]

Artist Shana Moulton's other self, ‘Cynthia,' seeks enlightenment through song, shopping and exercise. Performing the misadventures of her semi-autobiographical alter ego, artist Shana Moulton has drawn attention in the field of new media studies. Over two decades, Moulton, a professor of time-based arts at UC Santa Barbara, has used physical comedy to interpret her artistic creation, “Cynthia,” a wide-eyed ingénue. In Moulton's performance, video and sculpture series, "Whispering Pines" — named after the trailer park in Central California where Moulton grew up — Cynthia often sports a housecoat or spandex and seeks enlightenment through exercise and shopping. Most recently, Moulton presented an extension of “Whispering Pines” — “Meta/Physical Therapy” — at The Museum of Modern Art (MoMA) in New York. (While the work was on view, from Feb. 17 to April 21, 2024, the museum's overall attendance was close to half a million people.) Series: "UC Santa Barbara News" [Arts and Music] [Show ID: 40207]

In this inaugural special live episode of Parola Progetto, recorded at Salotto in Brooklyn and presented in English, we are honored to host Paola Antonelli.As the Senior Curator of the Department of Architecture and Design at The Museum of Modern Art (MoMA) and the museum's Director of Research and Development, Antonelli brings a wealth of experience and insight. During our conversation, we delve into her distinguished career at MoMA, discussing the dynamics of success and rejection, the evolving role of curating, and how museums function as research and development hubs for society. Antonelli offers her perspectives on technology, artificial intelligence, and the future of design, highlighting the critical importance of thoughtful analysis and cultural awareness in these fields.The links of this episode:Salotto, a hub for cultural research and production run by NYC-based Italian creative professionals https://salotto.nycDesign Emergency, curated by Alice Rawsthorn and Paola Antonelli https://www.instagram.com/design.emergencyMoMA R&D Salons http://momarnd.moma.org/salons“Broken Nature: Design Takes on Human Survival”, curated by Paola Antonelli at La Triennale di Milano in 2019 https://triennale.org/en/events/broken-nature “Planet City” by Liam Young https://www.moma.org/collection/works/450744 “Pirouette. Experiments and Turning Points in Design” curated by Paola Antonelli at MoMA in 2025https://www.moma.org/calendar/exhibitions/5756“ITEMS. Is Fashion Modern?”, curated by Paola Antonelli at MoMA in 2018https://www.moma.org/calendar/exhibitions/1638 "The Emperor of All Maladies: A Biography of Cancer" by Siddhartha Mukherjee https://en.wikipedia.org/wiki/The_Emperor_of_All_Maladies  

In this episode of PhotoWork with Sasha Wolf, Sasha is joined by Pauline Vermare, Curator of Photography at the Brooklyn Museum, and Lesley Martin, Executive Director of Printed Matter. They discuss their collaborative efforts on "I'm So Happy You Are Here: Japanese Women Photographers from the 1950s to Now," published by Aperture. This publication offers a counterpoint, complement, and challenge to historical precedents and the established canon of Japanese photography. Lesley and Pauline share their connections to Japanese society and their interest in the representation of women in photography. Together, Sasha, Lesley, and Pauline explore how they balanced the academic and historical aspects of their work with the artistic appeal of a photobook that highlights the contributions of Japanese women photographers. https://aperture.org/books/im-so-happy-you-are-here-japanese-women-photographers-from-the-1950s-to-now/ || https://www.instagram.com/la.martin_/ || https://www.instagram.com/paulinevermare/ Pauline Vermare is the Phillip and Edith Leonian Curator of Photography, Brooklyn Museum. She was formerly the cultural director of Magnum Photos NY, and a curator at the International Center of Photography (ICP), The Museum of Modern Art (MoMA), and the Henri Cartier-Bresson Foundation, in Paris. She sits on the boards of the Saul Leiter Foundation and the Catherine Leroy Fund. Lesley A. Martin is executive director of Printed Matter. Prior to that, she was the creative director of Aperture, founding publisher of The PhotoBook Review, and co-founder of the Paris Photo–Aperture Foundation PhotoBook Awards. She has edited more than one-hundred and fifty books of photography, including An-My Lê's Small Wars; Illuminance by Rinko Kawauchi; LaToya Ruby Frazier: The Notion of Family; and Zanele Muholi: Somnyama Ngonyama. Martin has curated several exhibitions of photography, including The Ubiquitous Image; the New York Times Magazine Photographs, co-curated with Kathy Ryan; Aperture Remix, a commission-based exhibition celebrating Aperture's sixtieth anniversary; and most recently, I'm So Happy You Are Here: Japanese Women Photographers Since the 1950s, co-curated with Pauline Vermare and Mariko Takeuchi. She received the Royal Photographic Society award for outstanding achievement in photographic publishing in 2020, and has been a visiting critic at the Yale University Graduate School of Art since 2016. This podcast is sponsored by picturehouse + thesmalldarkroom. https://phtsdr.com

In this episode of Better Buildings for Humans, host Joe Menchefski sits down with David Bruce Lee and Marina Bourderonnet, Founding Partners of FAME Architecture & Interior Design and co-hosts of The Second Studio Design & Architecture Show, a top-ten design podcast. With over 13 years of experience, David and Marina share their journey from working in New York on custom homes and high-rises to establishing their own firm. They dive into their design philosophy, emphasizing the deep connection between lifestyle and architecture, and how their unique client questionnaire helps bring out the essence of each individual in their projects. They also explore how their architectural work mirrors the fluidity of music composition and discuss their approach to creating spaces that reflect their clients' personalities, not just functional needs. Tune in for insights into the creative process and to learn how FAME is reimagining modern living spaces! More about David Bruce Lee and Marina Bourderonnet David Bruce Lee, Founding Partner of FAME Architecture & Interior Design and Host of The Second Studio Design & Architecture Show David is a Founding Partner of FAME Architecture & Interior Design, an office specializing in custom modern and contemporary residences. His 13 years of professional experience includes custom homes, luxury high-rises, towers, and other buildings across several countries. He is a Registered Architect in the States of California, Nevada, and New York and holds a Master of Urban Design from the City College of New York under the directorship of Michael Sorkin; a Bachelor of Architecture and a Minor in Sustainable Environments with Honors from California Polytechnic State University, San Luis Obispo; and a diploma in music and architecture from Les Ecoles d'Art Américaines de Fontainebleau, France. David's work has been displayed in the Museum of Modern Art (MoMA) in New York City and The Museum of the City of New York. He taught architecture, interior design, and urban design at the collegiate level, has lectured at various professional and academic conferences, and co-hosts the Second Studio Architecture & Design Show, a top-ten design podcast. Marina Bourderonnet, Founding Partner of FAME Architecture & Interior Design and Host of The Second Studio Design & Architecture Show Marina is a Founding Partner of FAME Architecture & Interior Design, an office specializing in custom modern and contemporary residences. Her 13 years of professional experience includes custom beachfront homes, a mid-rise luxury condominium building, restaurants, cafes, and health facilities. She is a Registered Architect in the State of New York, a Designer, and a LEED Green Associate and holds a Bachelor of Architecture from l'Ecole Nationale Supérieure d'Architecture de Paris Val-de-Seine; is trained in sculpture, life drawing, and art history from l'Ecole des Beaux-Arts; and studied film photography and architecture at California Polytechnic State University, San Luis Obispo. Marina's work has been published in the Architect's Newspaper Interiors and the Brooklyn Gallery. She co-hosts the Second Studio Architecture & Design podcast, a top-ten design podcast. CONTACT: https://www.famearchitects.com/ https://www.instagram.com/fame_architects/ https://www.youtube.com/channel/UCjLfSZ7t_nGco7GlcT6X41w https://www.linkedin.com/in/david-bruce-lee-18b0a329  https://www.linkedin.com/in/marina-bourderonnet-1a95813b/en Where To Find Us: https://bbfhpod.advancedglazings.com/ www.advancedglazings.com https://www.linkedin.com/company/better-buildings-for-humans-podcast www.linkedin.com/in/advanced-glazings-ltd-848b4625 https://twitter.com/bbfhpod https://twitter.com/Solera_Daylight https://www.instagram.com/bbfhpod/ https://www.instagram.com/advancedglazingsltd https://www.facebook.com/AdvancedGlazingsltd

On this episode, Sarah and Ian sit down with Suzanne McKenzie! Suzanne is an award-winning entrepreneur, Chief Creative Officer and designer, passionate about using design and collaboration to make the world a better place.She is Founder and CCO of Able Made, the Original Off Pitch Soccer Style brand that combines soccer-inspired apparel and accessories with responsible manufacturing and giving back.Suzanne's 24 years of experience includes work in the advertising and design consultancy worlds for numerous national and global brands, including Tom Ford, Timberland, Puma, Supergoop with Maria Sharapova, the Olympic Games, ESPN, Museum of Modern Art (MoMA), Titleist, and many more leading brands. Suzanne's Purposely Podcast on iheartradio features conversations with her Able Made creative collaborators on how they help build stronger communities.Suzanne has been on the jury for numerous international design award shows, including the 2022 One Show and the Ad Club. She was selected and recognized at the White House by President Obama as a Global Emerging Entrepreneur, and also is a Sappi Ideas that Matter North America Grant recipient. Suzanne has taught Design and Social Entrepreneurship at the School of Visual Arts (SVA) in New York City, and is Founder and Board Chair for award-winning nonprofit, Ucal McKenzie Breakaway Foundation.Her work has been featured in Business Week, Vanity Fair, Graphic Design USA, Vogue, WWD and more. Her work has been recognized by the Art Directors Club, the Hatch Show, the One Show, WebAwards, and Mobius Awards. Suzanne is a 2024 AIGA Fellows Award recipient.Listen along as they discuss her incredible brand, Able Made, and how it was inspired by the life of her late husband, Ucal McKenzie. Able Made and the foundation honor his legacy. Her creativity, genius, and hardworking ethic are apparent in all of the projects she has taken on. We loved this conversation and hope you do too! Hosted on Acast. See acast.com/privacy for more information.

A Festival Odyssey: Phish, Mondegreens, and Moments with My SonLarry Mishkin reflects on his recent experience attending the Mondegreen Festival, a Phish festival in Dover, Delaware, with his son and friends. He shares his enthusiasm for the event, highlighting the performances and the significance of certain songs, including "The MoMA Dance" and "NICU," which have deep ties to Phish's history and fan culture. Larry provides a detailed history of Phish festivals, from the Clifford Ball in 1996 to the most recent Mondegreen Festival, noting memorable moments, attendance figures, and unique aspects of each event. The episode also includes a brief discussion on the 60th anniversary of The Beatles' performance at Red Rocks Amphitheatre in Denver, Colorado. Larry expresses his excitement about attending the festival with his son and reminisces about the special bond they shared during the event.MONDEGREENPhishAugust 15 – 18, 2024The WoodlandsDover Delaware Band's 11th festival, NOT counting Curveball set for 2018 that was canceled at the last minute due to contaminated water supply due to heavy rains and flooding. Nine year gap between MagnaBall in March, 2015 and Mondegreen, biggest gap between festivals in band's history.  INTRO:                                 Moma Dance                                                Night One, August 15, 2024                                                First Night, First Set, First Song (into Back On The Train)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #2                                                2:31 – 4:05 By:  Anastasio/Fishman/Gordon/McConnell/MarshallPlayed:First Played:  6/30/98 in Copenhagen, DenmarkMost recent: August 15, 2024 (Mondegreen)Current Gap:  3 shows The title of “Moma” is another example of Phish Phonetics, cleverly transforming the moment ends lyric into a reference to a display of “The Rhombus” at New York City's Museum of Modern Art (MoMA).Mondegreen:  are they saying, “The Moma Dance” OR “the Moment Ends”??                               SHOW No 1:                     NICU                                                Night One, August 15, 2024                                                First Set, 6th song (out of Roggae and into A Wave of Hope)                                                Phish @ The Woodlands, Mondegreen Festival, Dover DE 2024-08-15 : Free Download, Borrow, and Streaming : Internet Archive                                                Track #7                                                3:00 – 4:56 By:         Anastasio/MarshallPlayed 156 timesFirst Played: 3.6.92 at The Music Hall in Portsmouth, NHMost Recent:  August 15, 2024 (Mondegreen)Gap: 3 shows Has any Phish song had as many names with as many explanations as “NICU”? At its debut in Portsmouth, New Hampshire, Trey introduced the song as “In an Intensive Care Unit.” Shortly thereafter, the name was changed to “NICU,” which some considered a play on a line from the backing vocals in the chorus (“and I see you”) and others noted was the abbreviation for the Neonatal Intensive Care Unit.Shortly thereafter, the “controversy” began, as controversy can only begin among rabid Phish fans. Some called the song “And I See You.” Some stuck with the original “In an Intensive Care Unit.” Other interesting theories developed, including one from the Internet where a fan noted that the elements Nickel (NI) and Copper (Cu) are side-by-side on the Periodic Table and that the title “NICU” may thus be a reference to nickels and pennies or, more likely, small change.  Title is a Mondegreen for “And I See You” Music News (from Mondegreen) Matthew's crew:  Matthew, me, Donny, Jake, Dave and Seth Michigan Crew:  ??? NYC Crew: Max & Jess, Joey and Darby, Darby's brother, Brad and Sam, Dan the drummer (and?), Dude from Florida and girlfriend (??), Tesh,WHO ELSE SHOULD I MENTION? CLEVELAND CREW:  Kevin, two buddies?  Aaron   Anyone else? Hot and humid/ AC unitsTents v. RV's/bathrooms/food/water and ice/maintenanceStorm – cut Sunday short                        Modern weather technology – good and bad                        Just like 2022 Sacred Rose Festival Secret Set on Aug. 16th second night Driving 12 hours each way                                                  SHOW No. 2:                    I Am Hydrogen > Weekapaug Groove                                                Night 3, August 17, 2024 – Second set opener traditional Mike's Groove>Theme From The Bottom                                                November 11, 2012, MSG, NYNY                                                Mike's>Chalk Dust Torture>I Am Hydrogen>Weekapaug                                                Phish | 12.29.11 | Mike's Song → Chalk Dust Torture → I Am Hydrogen → Weekapaug Groove - YouTube                                                15:44 – 17.43 I Am HydrogenBy: Daubert/Marshall/AnastasioPlayed: 350 timesFirst: April 6, 1985 at Finbar's in Burlington, VTMost  Recent: August 17, 2024 (Mondegreen Night 3)Gap: 1 show The story of “I Am Hydrogen” is a love story. Conceived by Tom Marshall and Marc Daubert around 1984-85 on piano and acoustic guitar, they brought their creation over to Trey's house, where it was recorded. Trey added a harmony to it on his electric guitar, and the “Hydrogen” we have come to know was born. Initially intended for Tom, Marc, and Trey's band Bivouac, “Hydrogen” ended up in the Phish lineup and made its debut, all alone, on 4/6/85.  After a few years, it became the connector between Mike's Song and Weekapaug Groove. Into Weekapaug GrooveBy:  Anastasio/Fishman/McConnell/GordonPlayed: 523 timesFirst: 7.23.1988 at Pete's Phabulous Phish Phest in Underhill, VTMost Recent:  August 17, 2024 (Mondegreen Night 3)Gap: 1 show “Weekapaug Groove” takes its name from the town of Weekapaug, located on the shores of the Atlantic Ocean in southwestern Rhode Island. According to Mike, the song's lyrics (“Trying to make a woman that you move, sharing in a Weekapaug Groove”) are meaningless. As Mike said in a 9/9/97 interview with Parke Puterbaugh: “So we came back to Boston [from Weekapaug, after playing a gig there at a yacht club], and I guess we were in the van or the Voyager we used to drive in, and that song “Oh What a Night” came on the radio. You know that one? That awful Four Seasons song? We just constantly listened to songs and changed around the words as to what they might sound like. I always had a particularly hard time hearing lyrics anyway, so I always would sing a song on the radio, sing along with the wrong words. So the bridge of that song goes ‘Oh I-I-I trying to something,' but I was singing it, ‘Oh I-I-I trying to make a woman that you move,' which means nothing, 'sharing in a Weekapaug groove.' So we all just started singing that, as complete nonsense: ‘trying to make a woman that you move.' It never occurred to any of us that it had any meaning, ever. There was a period of time that we were singing it, and I used to just yell out the lyrics, between singing them I would just yell them out as if I was preaching them, just to sort of make it more ironic that they have no meaning.”  SHOW No. 3:                    Yamar                                                Night 4, August 18, 2024 – First set 10th song out of Stash and into Timber                                                August 17, 1996, Clifford Ball, Plattsburgh AFB, Plattsburgh, NY (1st Phish Festival) into It's Ice                                                Phish-Ya Mar-Clifford Ball (youtube.com)                                                0:13 – 1:45 By:  Cyril Ferguson                27th November 1951 - Cyril 'Dry Bread' Ferguson was born in Nassau, New Providence, Bahama Islands.Ferguson was a Bahamian musician and entertainer. He composed songs in the genres of goombay, calypso and Bahamian pop music.Some of his more popular songs include: Ya Mar, Sunshine On My Body, Bahamian Music and Don't Squeeze The Mango.Ferguson died of complications related to diabetes on 9th April 2009. “Ya Mar” resides as a favorite in the hearts of many fans. It represents one of Phish's few forays into calypso and is among the most playful and danceable songs in the band's repertoire. And anytime Trey screams for Page to take the reins – “Play it, Leoooooo!” – the crowd is apt to go wild. Page's nickname actually comes from this line in the original, where The Mustangs urged their own piano man to step into the spotlight. The title seems to reference the slurred interpretation of “your ma,” as the singer recounts the disdain his lover's family has for him. Phish put their own unique stamp on it by often changing the “no good pa” lyric in the chorus to mimic their own “oh kee pa” phrase.  Played: 232 timesFirst: 2.21.1987 at Slade Hall, UV, Burlington, VTMost Recent:  8.18.2024Gap: 0 shows Marijuana News Senator Says Harris Will ‘Be Ready To Sign' Marijuana Reform Bills If Elected PresidentGOP Senators Claim Marijuana Is A ‘Gateway Drug' As They Oppose Rescheduling And Legalization3.      People Who Use Marijuana Are Less Likely To Be Obese, New Study Shows                 SHOW No. 4:                    Simple                                                Night 4, August 18, 2024 – First set second to last song of Izabella and into Golden Age                                                July 27, 2024, Alpine Valley, East Troy, WI second set out of Sigma Oasis and into The Howling                                                Phish - 7/27/2024 - Simple (4K HDR) (youtube.com)                                                0:18 – 1:28 By:         GordonPlayed:  209 timesFirst:     5.27.1994 at the Warfield Theater in San FranciscoMost Recent:  August 18, 2024 (Mondegreen Night 4)Gap: 0 shows "Simple" was first written and recorded by Mike Gordon in a four-track medium in the Doo-wop style and introduced to the band during the studio sessions forHoist. This version reflected the country and bluegrass writing style of many previous Gordon compositions. The song was left off of the albumand the band showed hesitation in performing it live. Then, on 5/27/94, “Simple” debuted in a very strange and raw fashion during the “Mike's Song” at the Warfield in San Francisco. In contrast to the song we know today, the debut version of “Simple” was Mike's original lyrics sung by the band members over a jam that had emerged from “Mike's.” Three weeks later, “Simple” was played for a second time at the historic 6/17/94 gig, the same night that much of the country was watching the low-speed police chase of O.J. Simpson's white Ford Bronco through L.A. This version was significantly reworked and sounded much like the “Simple” we are accustomed to hearing today, with the exception of a minor humoristic augmentation providing the line “We've got O.J., cause we've got a band.” Mondegreen:  We've got a cymbal (simple) cause we've got a band   OUTRO:                               Twee Pri                                                Night 3, August 17, 2024 – Encore out of YEM into end of show                                                April 20, 2024, The Sphere, Las Vegas, NV Encore out of A Life Beyond the Dream into end of show                                                Tvidler 202202 11 by Ryan Maguire (youtube.com)                                                0:00 – end By:  Anastasio/Fishman/Gordon/McConnellPlayed:  321 tiesFirst:  2.1.1991 at Alumnae Hall, Brown University — Providence, RIMost Recent: 8.17.2024 Mondegreen Night 3Gap: 1 show A "reprise" is a sort of musical afterthought – basically a reintroduction of and variation on the main theme of a piece of music. Thus, “Tweezer Reprise” is a slight variation – a condensation of sorts – of “Tweezer.” As it does on the album A Picture of Nectar, the “Reprise” often follows “Tweezer” in concert, most frequently as an encore song. It is also common as a second set closer following an earlier “Tweezer.” A few times, the “Reprise” has even been spewed out of some long, monster “Tweezer,” serving as the thrilling exclamation point at the end of a raging, set-long sentence (e.g. 5/7/94, 6/22/95).On occasion, “Tweezer Reprise” has shown up as a surprise in a show where there has been no performance of “Tweezer” proper. Although usually this occurs because the “Reprise” will be referring back to a non-reprised “Tweezer” at the previous night's show (e.g. 12/30/96's “Tweezer” was reprised on 12/31/96), the song has been known to appear, albeit rarely, completely free from its Granddaddy counterpart, like on 9/29/99. The most interesting example of this, and perhaps the most unusual “Tweezer Reprise” ever performed, was on 12/8/99, which featured an a cappella version that came out of a “YEM” vocal jam to close the second set. The band later finished off the show with a traditional “Tweezer Reprise” to end the encore. Other interesting versions include 10/27/94 and 10/21/95. .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

“We haven't invested this much money into an infrastructure like this really until you go back to the pyramids”—Kate CrawfordTranscript with links to audio and external links. Ground Truths podcasts are on Apple and Spotify. The video interviews are on YouTube Eric Topol (00:06):Well, hello, this is Eric Topol with Ground Truths, and I'm really delighted today to welcome Kate Crawford, who we're very lucky to have as an Australian here in the United States. And she's multidimensional, as I've learned, not just a scholar of AI, all the dimensions of AI, but also an artist, a musician. We're going to get into all this today, so welcome Kate.Kate Crawford (00:31):Thank you so much, Eric. It's a pleasure to be here.Eric Topol (00:34):Well, I knew of your work coming out of the University of Southern California (USC) as a professor there and at Microsoft Research, and I'm only now learning about all these other things that you've been up to including being recognized in TIME 2023 as one of 100 most influential people in AI and it's really fascinating to see all the things that you've been doing. But I guess I'd start off with one of your recent publications in Nature. It was a world view, and it was about generative AI is guzzling water and energy. And in that you wrote about how these large AI systems, which are getting larger seemingly every day are needing as much energy as entire nations and the water consumption is rampant. So maybe we can just start off with that. You wrote a really compelling piece expressing concerns, and obviously this is not just the beginning of all the different aspects you've been tackling with AI.Exponential Growth, Exponential Concerns Kate Crawford (01:39):Well, we're in a really interesting moment. What I've done as a researcher in this space for a very long time now is really introduce a material analysis of artificial intelligence. So we are often told that AI is a very immaterial technology. It's algorithms in the cloud, it's objective mathematics, but in actual fact, it comes with an enormous material infrastructure. And this is something that I took five years to research for my last book, Atlas of AI. It meant going to the mines where lithium and cobalt are being extracted. It meant going into the Amazon fulfillment warehouses to see how humans collaborate with robotic and AI systems. And it also meant looking at the large-scale labs where training data is being gathered and then labeled by crowd workers. And for me, this really changed my thinking. It meant that going from being a professor for 15 years focusing on AI from a very traditional perspective where we write papers, we're sitting in our offices behind desks, that I really had to go and do these journeys, these field trips, to understand that full extractive infrastructure that is needed to run AI at a planetary scale.(02:58):So I've been keeping a very close eye on what would change with generative AI and what we've seen particularly in the last two years has been an extraordinary expansion of the three core elements that I really write about in Atlas, so the extraction of data of non-renewable resources, and of course hidden labor. So what we've seen, particularly on the resources side, is a gigantic spike both in terms of energy and water and that's often the story that we don't hear. We're not aware that when we're told about the fact that there gigantic hundred billion computers that are now being developed for the next stage of generative AI that has an enormous energy and water footprint. So I've been researching that along with many others who are now increasingly concerned about how we might think about AI more holistically.Eric Topol (03:52):Well, let's go back to your book, which is an extraordinary book, the AI Atlas and how you dissected not just the well power of politics and planetary costs, but that has won awards and it was a few years back, and I wonder so much has changed since then. I mean ChatGPT in late 2022 caught everybody off guard who wasn't into this knowing that this has been incubating for a number of years, and as you said, these base models are just extraordinary in every parameter you can think about, particularly the computing resource and consumption. So your concerns were of course registered then, have they gone to exponential growth now?Kate Crawford (04:45):I love the way you put that. I think you're right. I think my concerns have grown exponentially with the models. But I was like everybody else, even though I've been doing this for a long time and I had something of a heads up in terms of where we were moving with transformer models, I was also quite taken aback at the extraordinary uptake of ChatGPT back in November 2022 in fact, gosh, it still feels like yesterday it's been such an extraordinary timescale. But looking at that shift to a hundred million users in two months and then the sort of rapid competition that was emerging from the major tech companies that I think really took me by surprise, the degree to which everybody was jumping on the bandwagon, applying some form of large language model to everything and anything suddenly the hammer was being applied to every single nail.(05:42):And in all of that sound and fury and excitement, I think there will be some really useful applications of these tools. But I also think there's a risk that we apply it in spaces where it's really not well suited that we are not looking at the societal and political risks that come along with these approaches, particularly next token prediction as a way of generating knowledge. And then finally this bigger set of questions around what is it really costing the planet to build these infrastructures that are really gargantuan? I mean, as a species, we haven't invested this much money into an infrastructure like this really until you go back to the pyramids, you really got to go very far back to say that type of just gargantuan spending in terms of capital, in terms of labor, in terms of all of the things are required to really build these kinds of systems. So for me, that's the moment that we're in right now and perhaps here together in 2024, we can take a breath from that extraordinary 18 month period and hopefully be a little more reflective on what we're building and why and where will it be best used.Propagation of BiasesEric Topol (06:57):Yeah. Well, there's so many aspects of this that I'd like to get into with you. I mean, one of course, you're as a keen observer and activist in this whole space, you've made I think a very clear point about how our culture is mirrored in our AI that is our biases, and people are of course very quick to blame AI per se, but it seems like it's a bigger problem than just that. Maybe you could comment about, obviously biases are a profound concern about propagation of them, and where do you see where the problem is and how it can be attacked?Kate Crawford (07:43):Well, it is an enormous problem, and it has been for many years. I was first really interested in this question in the era that was known as the big data era. So we can think about the mid-2000s, and I really started studying large scale uses of data in scientific applications, but also in what you call social scientific settings using things like social media to detect and predict opinion, movement, the way that people were assessing key issues. And time and time again, I saw the same problem, which is that we have this tendency to assume that with scale comes greater accuracy without looking at the skews from the data sources. Where is that data coming from? What are the potential skews there? Is there a population that's overrepresented compared to others? And so, I began very early on looking at those questions. And then when we had very large-scale data sets start to emerge, like ImageNet, which was really perhaps the most influential dataset behind computer vision that was released in 2009, it was used widely, it was freely available.(09:00):That version was available for over a decade and no one had really looked inside it. And so, working with Trevor Paglen and others, we analyzed how people were being represented in this data set. And it was really quite extraordinary because initially people are labeled with terms that might seem relatively unsurprising, like this is a picture of a nurse, or this is a picture of a doctor, or this is a picture of a CEO. But then you look to see who is the archetypical CEO, and it's all pictures of white men, or if it's a basketball player, it's all pictures of black men. And then the labeling became more and more extreme, and there are terms like, this is an alcoholic, this is a corrupt politician, this is a kleptomaniac, this is a bad person. And then a whole series of labels that are simply not repeatable on your podcast.(09:54):So in finding this, we were absolutely horrified. And again, to know that so many AI models had trained on this as a way of doing visual recognition was so concerning because of course, very few people had even traced who was using this model. So trying to do the reverse engineering of where these really problematic assumptions were being built in hardcoded into how AI models see and interpret the world, that was a giant unknown and remains to this day quite problematic. We did a recent study that just came out a couple of months ago looking at one of the biggest data sets behind generative AI systems that are doing text to image generation. It's called LAION-5B, which stands for 5 billion. It has 5 billion images and text captions drawn from the internet. And you might think, as you said, this will just mirror societal biases, but it's actually far more weird than you might imagine.(10:55):It's not a representative sample even of the internet because particularly for these data sets that are now trying to use the ALT tags that are used around images, who uses ALT tags the most on the internet? Well, it's e-commerce sites and it's often stock image sites. So what you'll see and what we discovered in our study was that the vast majority of images and labels are coming from sites like Shopify and Pinterest, these kind of shopping aspirational collection sites. And that is a very specific way of seeing the world, so it's by no means even a perfect mirror. It's a skewed mirror in multiple ways. And that's something that we need to think of particularly when we turn to more targeted models that might be working in say healthcare or in education or even in criminal justice, where we see all sorts of problems emerge.Exploiting Humans for RLHFEric Topol (11:51):Well, that's really interesting. I wonder to extend that a bit about the human labor side of this. Base models are tweaked, fine-tuned, and one of the ways to do that, of course is getting people to weigh in. And this has been written about quite a bit about how the people that are doing this can be exploited, getting wages that are ridiculously weak. And I wonder if you could comment about that because in the ethics of AI, this seems to be one of the many things that a lot of people don't realize about reinforcement learning.Kate Crawford (12:39):Oh, I completely agree. It's quite an extraordinary story. And of course now we have a new category of crowd labor that's called reinforcement learning with human feedback or RLHF. And what was discovered by multiple investigations was that these laborers are in many cases paid less than $2 an hour in very exploitative conditions, looking at results that in many cases are really quite horrifying. They could be accounts of murder, suicide, trauma, this can be visual material, it can be text-based material. And again, the workers in these working for these companies, and again, it's often contract labor, it's not directly within a tech company, it's contracted out. It's very hidden, it's very hard to research and find. But these laborers have been experiencing trauma and are really now in many cases bringing lawsuits, but also trying to unionize and say, these are not acceptable conditions for people to be working under.(13:44):So in the case of OpenAI, it was found that it was Kenyan workers who were doing this work for just poverty wages, but it's really across the board. It's so common now that humans are doing the hard work behind the scenes to make these systems appear autonomous. And that's the real trap that we're being told that this is the artificial intelligence. But in actual fact, what Jeff Bezos calls Mechanical Turk is that it's artificial, artificial intelligence otherwise known as human beings. So that is a very significant layer in terms of how these systems work that is often unacknowledged. And clearly these workers in many cases are muzzled from speaking, they're not allowed to talk about what they do, they can't even tell their families. They're certainly prevented from collective action, which is why we've seen this push towards unionization. And finally, of course, they're not sharing in any of the profits that are being generated by these extraordinary new systems that are making a very small number of people, very wealthy indeed.Eric Topol (14:51):And do you know if that's improving or is it still just as bad as it has been reported? It's really deeply concerning to see human exploitation, and we all know well about sweatshops and all that, but here's another version, and it's really quite distressing.Kate Crawford (15:09):It really is. And in fact, there have been several people now working to create really almost like fair work guidelines. So Oxford has the sort of fair work initiative looking specifically at crowd work. They also have a rating system where they rate all of the major technology companies for how well they're treating their crowd laborers. And I have to say the numbers aren't looking good in the last 12 months, so I would love to see much more improvement there. We are also starting to see legislation be tabled specifically on this topic. In fact, Germany was one of the most recent to start to explore how they would create a strong legislative backing to make sure that there's fair labor conditions. Also, Chile was actually one of the first to legislate in this space, but you can imagine it's very difficult to do because it's a system that is operating under the radar through sort of multiple contracted chains. And even some of the people within tech companies will tell me it's really hard to know if they're working with a company that's doing this in the right way and paying people well. But frankly, I'd like to see far greater scrutiny otherwise, as you say, we're building on this system, which looks like AI sweatshops.Eric Topol (16:24):Yeah, no, I think people just have this illusion that these machines are doing everything by themselves, and that couldn't be further from the truth, especially when you're trying to take it to the next level. And there's only so much human content you can scrape from the internet, and obviously it needs additional input to take it to that more refined performance. Now, besides your writing and being much of a conscience for AI, you're also a builder. I mean, I first got to know some of your efforts through when you started the AI Now Institute. Maybe you can tell us a bit about that. Now you're onto the Knowing Machines Project and I don't know how many other projects you're working on, so maybe you can tell us about what it's like not just to be a keen observer, but also one to actually get initiatives going.Kate Crawford (17:22):Well, I think it's incredibly important that we start to build interdisciplinary coalitions of researchers, but sometimes even beyond the academic field, which is where I really initially trained in this space, and really thinking about how do we involve journalists, how do we involve filmmakers, how do we involve people who will look at these issues in really different ways and tell these stories more widely? Because clearly this really powerful shift that we're making as a society towards using AI in all sorts of domains is also a public issue. It's a democratic issue and it's an issue where we should all be able to really see into how these systems are working and have a say in how they'll be impacting our lives. So one of the things that I've done is really create research groups that are interdisciplinary, starting at Microsoft Research as one of the co-founders of FATE, a group that stands for fairness, accountability, transparency and ethics, and then the AI Now Institute, which was originally at NYU, and now with Knowing Machines, which is an international group, which I've been really delighted to build, rather than just purely focusing on those in the US because of course these systems are inherently transnational, they will be affecting global populations.(18:42):So we really need to think about how do you bring people from very different perspectives with different training to ask this question around how are these systems being built, who is benefiting and who might be harmed, and how can we address those issues now in order to actually prevent some of those harms and prevent the greatest risks that I see that are possible with this enormous turn to artificial intelligence everywhere?Eric Topol (19:07):Yeah, and it's interesting how you over the years are a key advisor, whether it's the White House, the UN or the European Parliament. And I'm curious about your experience because I didn't know much about the Paris ENS. Can you tell us about you were Visiting Chair, this is AI and Justice at the École Normale Supérieure (ENS), I don't know if I pronounce that right. My French is horrible, but this sounds like something really interesting.Kate Crawford (19:42):Well, it was really fascinating because this was the first time that ENS, which is really one of the top research institutions in Europe, had turned to this focus of how do we contend with artificial intelligence, not just as a technical question, but as a sort of a profound question of justice of society of ethics. And so, I was invited to be the first visiting chair, but tragically this corresponded with the start of the pandemic in 2020. And so, it ended up being a two-year virtual professorship, which is really a tragedy when you're thinking about spending time in Paris to be spending it on Zoom. It's not quite the same thing, but I had the great fortune of using that time to assemble a group of scholars around the world who were looking at these questions from very different disciplines. Some were historians of science, others were sociologists, some were philosophers, some were machine learners.(20:39):And really essentially assembled this group to think through some of the leading challenges in terms the potential social impacts and current social impacts of these systems. And so, we just recently published that through the academies of Science and Engineering, and it's been almost like a template for thinking about here are core domains that need more research. And interestingly, we're at that moment, I think now where we can say we have to look in a much more granular fashion beyond the hype cycles, beyond the sense of potential, the enormous potential upside that we're always hearing about to look at, okay, how do these systems actually work now? What kinds of questions can we bring into the research space so that we're really connecting the ideas that come traditionally from the social sciences and the humanistic disciplines into the world of machine learning and AI design. That's where I see the enormous upside that we can no longer stay in these very rigorously patrolled silos and to really use that interdisciplinary awareness to build systems differently and hopefully more sustainably as well.Is Working At Microsoft A Conflict?Eric Topol (21:55):Yeah, no, that's what I especially like about your work is that you're not a doomsday person or force. You're always just trying to make it better, but now that's what gets me to this really interesting question because you are a senior principal researcher at Microsoft and Microsoft might not like some of these things that you're advocating, how does that potential conflict work out?Kate Crawford (22:23):It's interesting. I mean, people often ask me, am I a technology optimist or a technology pessimist? And I always say I'm a technology realist, and we're looking at these systems being used. I think we are not benefited by discourses of AI doomerism nor by AI boosterism. We have to assess the real politic and the political economies into which these systems flow. So obviously part of the way that I've got to know what I know about how systems are designed and how they work at scale is through being at Microsoft Research where I'm working alongside extraordinary colleagues and all of whom come from, in many cases, professorial backgrounds who are deep experts in their fields. And we have this opportunity to work together and to look at these questions very early on in the kinds of production cycles and enormous shifts in the way that we use technology.(23:20):But it is interesting of course that at the moment Microsoft is absolutely at the leading edge of this change, and I've always thought that it's incredibly important for researchers and academics who are in industrial spaces to be able to speak freely, to be able to share what they see and to use that as a way that the industry can, well hopefully keep itself honest, but also share between what it knows and what everybody else knows because there's a giant risk in having those spaces be heavily demarcated and having researchers really be muzzled. I think that's where we see real problems emerge. Of course, one of the great concerns a couple of years ago was when Timnit Gebru and others were fired from Google for speaking openly about the concerns they had about the first-generation large language models. And my hope is that there's been a lesson through that really unfortunate set of decisions made at Google that we need people speaking from the inside about these questions in order to actually make these systems better, as you say, over the medium and long term.Eric Topol (24:26):Yeah, no, that brings me to thought of Peter Lee, who I'm sure because he wrote a book about GPT-4 and healthcare and was very candid about its potential, real benefits and the liabilities, and he's a very humble kind of guy. He's not one that has any bravado that I know of, so it speaks well to at least another colleague of yours there at Microsoft and their ability to see all the different sides here, not just what we'll talk about in a minute the arms race both across companies and countries. But before I get to that, there's this other part of you and I wonder if there's really two or three of you that is as a composer of music and art, I looked at your Anatomy of an AI System, I guess, which is on exhibit at the Museum of Modern Art (MoMA) in New York, and that in itself is amazing, but how do you get into all these other parts, are these hobbies or is this part of a main part of your creative work or where does it fit in?Kate Crawford (25:40):Eric, didn't I mention the cloning program that I participated in early and that there are many Kate's and it's fantastic we all work together. Yeah, that explains it. Look, it's interesting. Way back as a teenager, I was fascinated with technology. Of course, it was the early stages of the web at that moment, and I could see clearly that this was, the internet was going to completely change everything from my generation in terms of what we would do in terms of the way that we would experience the world. And as I was also at that time an electronic musician in bands, I was like, this was a really fantastic combination of bringing together creative practice with a set of much larger concerns and interests around at a systems level, how technology and society are co-constituted, how they evolve together and shape each other. And that's really been the map of how I've always worked across my life.(26:48):And it's interesting, I've always collaborated with artists and Vladan Joler who I worked with on anatomy of an AI system. We actually met at a conference on voice enabled AI systems, and it was really looking at the ethics of could it be possible to build an open source, publicly accessible version of say Alexa rather than purely a private model owned by a corporation, and could that be done in a more public open source way? And we asked a different question, we looked at each other and we're like, oh, I haven't met you yet, but I can see that there are some problems here. One of them is it's not just about the data and it's not just about the technical pipelines, it's about where the components come from. It's about the mining structures that needed to make all of these systems. It's about the entire end of life what happens when we throw these devices out from generally between three to four years of use and how they go into these giant e-waste tips.(27:51):And we basically started looking at this as an enormous sort of life and death of a single AI system, which for us started out by drawing these things on large pieces of butcher's paper, which just expanded and expanded until we had this enormous systems level analysis of what it takes just to ask Alexa what the weather is today. And in doing that, it taught me a couple of things. One that people really want to understand all of the things that go into making an AI system work. This piece has had a very long life. It's been in over a hundred museums around the world. It's traveled further than I have, but it's also very much about that broader political economy that AI systems aren't neutral, they don't just exist to serve us. They are often sort of fed into corporate structures that are using them to generate profits, and that means that they're used in very particular ways and that there are these externalities in terms of how they produced that linger in our environments that have really quite detrimental impacts on systems of labor and how people are recompensed and a whole range of relationships to how data is seen and used as though it's a natural resource that doesn't actually come from people's lives, that doesn't come with risks attached to it.(29:13):So that project was really quite profound for me. So we've continued to do these kinds of, I would call them research art projects, and we just released a new one called Calculating Empires, which looks at a 500 year history of technology and power looking specifically at how empires over time have used new technologies to centralize their power and expand and grow, which of course is part of what we're seeing at the moment in the empires of AI.Eric Topol (29:43):And what about the music side?Kate Crawford (29:45):Well, I have to say I've been a little bit slack on the music side. Things have been busy in AI Eric, I have to say it's kept me away from the music studio, but I always intend to get back there. Fortunately, I have a kid who's very musical and he's always luring me away from my desk and my research saying, let's write some music. And so, he'll keep me honest.Geopolitics and the Arms RacesEric Topol (30:06):Well, I think it's striking just because you have this blend of the humanities and you're so deep into trying to understand and improve our approaches in technology. And it seems like a very unusual, I don't know, too many techies that have these different dimensions, so that's impressive. Now let's get back to the arms race. You just were talking about tracing history over hundreds of years and empires, but right now we have a little problem. We have the big tech titans that are going after each other on a daily basis, and of course you know the group very well. And then you have China and the US that are vying to be the dominant force and problems with China accessing NVIDIA chips and Taiwan sitting there in a potentially very dangerous position, not just for Taiwan, but also for the US. And I wonder if you could just give us your sense about the tensions here. They're US based as well of course, because that's some of the major forces in companies, but then they're also globally. So we have a lot of stuff in the background that people don't like to think about, but it's actually happening right now.Kate Crawford (31:35):I think it's one of the most important things that we can focus on, in fact. I mean and again, this is why I think a materialist analysis of artificial intelligence is so important because not only does it force you to look at the raw components, where does the energy come from? Where does the water come from? But it means you're looking at where the chipsets come from. And you can see that in many cases there are these infrastructural choke points where we are highly dependent on specific components that sit within geopolitical flashpoints. And Taiwan is really the exemplar of this sort of choke point at the moment. And again, several companies are trying to address this by spinning up new factories to build these components, but this takes a lot of time and an enormous amount of resources yet again. So what we're seeing is I think a very difficult moment in the geopolitics of artificial intelligence.(32:31):What we've had certainly for the last decade has been almost a geopolitical duopoly. We've had the US and China not only having enormous power and influence in this space, but also goading each other into producing the most extreme forms of both data extractive and surveillance technologies. And unfortunately, this is just as true in the United States that I commonly hear this in rooms in DC where you'll hear advisors say, well, having any type of guardrails or ethical considerations for our AI systems is a problem if it means that China's going to do it anyway. And that creates this race to the bottom dynamic of do as much of whatever you can do regardless of the ethical and in some cases legal problems that will create. And I think that's been the dynamic that we've seen for some time. And of course the last 18 months to two years, we've seen that really extraordinary AI war happening internally in the United States where again, this race dynamic I think does create unfortunately this tendency to just go as fast as possible without thinking about potential downsides.(33:53):And I think we're seeing the legacy of that right now. And of course, a lot of the conversations from people designing these systems are now starting to say, look, being first is great, but we don't want to be in a situation as we saw recently with Google's Gemini where you have to pull an entire model off the shelves and you have to say, this is not ready. We actually have to remove it and start again. So this is the result I think of that high pressure, high speed dynamic that we've been seeing both inside the US but between the US and China. And of course, what that does to the rest of the world is create this kind of client states where we've got the EU trying to say, alright, well we'll export a regulatory model if we're not going to be treated as an equivalent player here. And then of course, so many other countries who are just seen as spaces to extract low paid labor or the mineralogical layer. So that is the big problem that I see is that that dynamic has only intensified in recent years.A.I. and MedicineEric Topol (34:54):Yeah, I know it's really another level of concern and it seems like it could be pretty volatile if for example, if the US China relations takes another dive and the tensions there go to levels that haven't been seen so far. I guess the other thing, there's so much that is I think controversial, unsettled in this space and so much excitement. I mean, just yesterday for example, was the first AI randomized trial to show that you could save lives. When I wrote that up, it was about the four other studies that showed how it wasn't working. Different studies of course, but there's so much excitement at the same time, there's deep concerns. You've been a master at articulating these deep concerns. What have we missed in our discussion today, I mean we've covered a lot of ground, but what do you see are other things that should be mentioned?Kate Crawford (36:04):Well, one of the things that I've loved in terms of following your work, Eric, is that you very carefully walk that line between allowing the excitement when we see really wonderful studies come out that say, look, there's great potential here, but also articulating concerns where you see them. So I think I'd love to hear, I mean take this opportunity to ask you a question and say what's exciting you about the way that this particularly new generation AI is being used in the medical context and what are the biggest concerns you have there?Eric Topol (36:35):Yeah, and it's interesting because the biggest advance so far in research and medicine was the study yesterday using deep learning without any transformer large language model effort. And that's where that multiplicative of opportunity or potential is still very iffy, it's wobbly. I mean, it needs much more refinement than where we are right now. It's exciting because it is multimodal and it brings in the ability to bring all the layers of a human being to understand our uniqueness and then do much better in terms of, I got a piece coming out soon in Science about medical forecasting and how we could really get to prevention of conditions that people are at high risk. I mean like for example today the US preventive task force said that all women age 40 should have mammograms, 40.Kate Crawford (37:30):I saw that.Eric Topol (37:30):Yeah, and this is just crazy Looney Tunes because here we have the potential to know pretty precisely who are those 12%, only 12% of women who would ever get breast cancer in their lifetime, and why should we put the other 88% through all this no less the fact that there are some women even younger than age 40 that have significantly high risk that are not picked up. But I do think eventually when we get these large language models to actualize their potential, we'll do really great forecasting and we'll be able to not just prevent or forestall cancer, Alzheimer's and so many things. It's quite exciting, but it's the earliest, we're not even at first base yet, but I think I can see our way to get there eventually. And it's interesting because the discussion I had previously with Geoffrey Hinton, and I wonder if you think this as well, that he sees the health medical space as the only really safe space. He thinks most everything else has got more concerns about the downsides is the sweet spot as he called it. But I know that's not particularly an area that you are into, but I wonder if you share that the excitement about your health could be improved in the future with AI.Kate Crawford (38:52):Well, I think it's a space of enormous potential, but again, enormous risk for the same reasons that we discussed earlier, which is we have to look at the training data and where it's coming from. Do we have truly representative sources of data? And this of course has been a consistent problem certainly for the last hundred years and longer. When we look at who are the medical patients whose data is being collected, are we seeing skews? And that has created all sorts of problems, particularly in the last 50 years in terms of misdiagnosing women, people of color, missing and not taking seriously the health complaints of people who are already seen as marginalized populations, thus then further skewing the data that is then used to train AI models. So this is something that we have to take very seriously, and I had the great fortune of being invited by Francis Collins to work with the NIH on their AI advisory board.(39:50):They produced a board to look just at these questions around how can this moment in AI be harnessed in such a way that we can think about the data layer, think about the quality of data and how we train models. And it was a really fascinating sort of year long discussion because in the room we had people who were just technologists who just wanted as much data as possible and just give us all that data and then we'll do something, but we'll figure it out later. Then there were people who had been part of the Human Genome Project and had worked with Francis on questions around the legal and ethical and social questions, which he had really centered in that project very early on. And they said, no, we have to learn these lessons. We have to learn that data comes from somewhere. It's not divorced of context, and we have to think about who's being represented there and also who's not being represented there because that will then be intensified in any model that we train on that data.Humans and Automation Bias(40:48):And then also thinking about what would happen in terms of if those models are only held by a few companies who can profit from them and not more publicly and widely shared. These were the sorts of conversations that I think at the absolute forefront in terms of how we're going to navigate this moment. But if we get that right, if we center those questions, then I think we have far greater potential here than we might imagine. But I'm also really cognizant of the fact that even if you have a perfect AI model, you are always going to have imperfect people applying it. And I'm sure you saw that same study that came out in JAMA back in December last year, which was looking at how AI bias, even slightly biased models can worsen human medical diagnosis. I don't know if you saw this study, but I thought it was really extraordinary.(41:38):It was sort of 450 doctors and physician's assistants and they were really being shown a handful of cases of patients with acute respiratory failure and they really needed come up with some sort of diagnosis and they were getting suggestions from an AI model. One model was trained very carefully with highly accurate data, and the other was a fairly shoddy, shall we say, AI model with quite biased data. And what was interesting is that the clinicians when they were working with very well-trained AI model, we're actually producing a better diagnosis across the board in terms of the cases they were looking at. I think their accuracy went up by almost 4.5 percentage points, but when they were working with the less accurate model, their capacity actually dropped well below their usual diagnostic baseline, something like almost 12 percentage points below their usual diagnostic quality. And so, this really makes me think of the kind of core problem that's been really studied for 40 years by social scientists, which is called automation bias, which is when even an expert, a technical system which is giving a recommendation, our tendency is to believe it and to discard our own knowledge, our own predictions, our own sense.(42:58):And it's been tested with fighter pilots, it's been tested with doctors, it's been tested with judges, and it's the same phenomenon across the board. So one of the things that we're going to need to do collectively, but particularly in the space of medicine and healthcare, is retaining that skepticism, retaining that ability to ask questions of where did this recommendation come from with this AI system and should I trust it? What was it trained on? Where did the data come from? What might those gaps be? Because we're going to need that skepticism if we're going to get through particularly this, as you say, this sort of early stage one period where in many cases these models just haven't had a lot of testing yet and people are going to tend to believe them out of the box.The Large Language Model Copyright IssueEric Topol (43:45):No, it's so true. And one of the key points is that almost every study that's been published in large language models in medicine are contrived. They're using patient actors or they're using case studies, but they're not in the real world. And that's where you have to really learn, as you know, that's a much more complex and messy world than the in silico world of course. Now, before wrapping up, one of the things that's controversial we didn't yet hit is the fact that in order for these base models to get trained, they basically ingest all human content. So they've ingested everything you've ever written, your books, your articles, my books, my articles, and you have the likes of the New York Times suing OpenAI, and soon it's going to run out of human content and just use synthetic content, I guess. But what's your sense about this? Do you feel that that's trespassing or is this another example of exploiting content and people, or is this really what has to be done in order to really make all this work?Kate Crawford (44:59):Well, isn't it a fascinating moment to see this mass grabbing of data, everything that is possibly extractable. I actually just recently published an article in Grey Room with the legal scholar, Jason Schultz, looking at how this is producing a crisis in copyright law because in many ways, copyright law just cannot contend with generative AI in particular because all of the ways in which copyright law and intellectual property more broadly has been understood, has been premised around human ideas of providing an incentive and thus a limited time monopoly based on really inspiring people to create more things. Well, this doesn't apply to algorithms, they don't respond to incentives in this way. The fact that, again, it's a longstanding tradition in copyright that we do not give copyright to non-human authors. So you might remember that there was a very famous monkey selfie case where a monkey had actually stepped on a camera and it had triggered a photograph of the monkey, and could this actually be a copyright image that could be given to the monkey?(46:12):Absolutely not, is what the court's decided. And the same has now happened, of course, for all generative AI systems. So right now, everything that you produce be that in GPT or in Midjourney or in Stable Diffusion, you name it, that does not have copyright protections. So we're in the biggest experiment of production after copyright in world history, and I don't think it's going to last very long. To be clear, I think we're going to start to see some real shifts, I think really in the next 6 to 12 months. But it has been this moment of seeing this gigantic gap in what our legal structures can do that they just haven't been able to contend with this moment. The same thing is true, I think, of ingestion, of this capturing of human content without consent. Clearly, many artists, many writers, many publishing houses like the New York Times are very concerned about this, but the difficulty that they're presented with is this idea of fair use, that you can collect large amounts of data if you are doing something with that, which is sufficiently transformative.(47:17):I'm really interested in the question of whether or not this does constitute sufficiently transformative uses. Certainly if you looked at the way that large language models a year ago, you could really prompt them into sharing their training data, spitting out entire New York Times articles or entire book chapters. That is no longer the case. All of the major companies building these systems have really safeguarded against that now but nonetheless, you have this question of should we be moving towards a system that is based on licensing, where we're really asking people if we can use their data and paying them a license fee? You can see how that could absolutely work and would address a lot of these concerns, but ultimately it will rely on this question of fair use. And I think with the current legal structures that we have in the current case law, that is unlikely to be seen as something that's actionable.(48:10):But I expect what we'll look at is what really happened in the early 20th century around the player piano, which was that I'm sure you remember this extraordinary technology of the player piano. That was one of the first systems that automated the playing of music and you'd have a piano that had a wax cylinder that almost like code had imprinted on a song or a piece of music, and it could be played in the public square or in a bar or in a saloon without having to pay a single artist and artists were terrified. They were furious, they were public hearings, there were sort of congressional hearings and even a Supreme Court case that decided that this was not a copyright infringement. This was a sufficiently transformative use of a piece of music that it could stand. And in the end, it was actually Congress that acted.(49:01):And we from that got the 1908 Copyright Act and from that we got this idea of royalties. And that has become the basis of the music industry itself for a very long time. And now we're facing another moment where I think we have a legislative challenge. How would you actually create a different paradigm for AI that would recognize a new licensing system that would reward artists, writers, musicians, all of the people whose work has been ingested into training data for AI so that they are recognized and in some ways, recompensed by this massive at scale extraction?Eric Topol (49:48):Wow, this has been an exhilarating conversation, Kate. I've learned so much from you over the years, but especially even just our chance to talk today. You articulate these problems so well, and I know you're working on solutions to almost everything, and you're so young, you could probably make a difference in the decades ahead. This is great, so I want to thank you not just for the chance to visit today, but all the work that you've been doing, you and your colleagues to make AI better, make it fulfill the great promise that it has. It is so extraordinary, and hopefully it'll deliver on some of the things that we have big unmet needs, so thanks to you. This has really been fun.Kate Crawford (50:35):This has been wonderful. And likewise, Eric, your work has just been a fantastic influence and I've been delighted to get to know you over the years and let's see what happens. It's going to be a wild ride from now to who knows when.Eric Topol (50:48):No question, but you'll keep us straight, I know that. Thank you so much.Kate Crawford (50:52):Thanks so much, Eric.*******************************Your support of subscribing to Ground Truths, and sharing it with your network of friends and colleagues, is much appreciated.The Ground Truths newsletters and podcasts are all free, open-access, without ads.Voluntary paid subscriptions all go to support Scripps Research. Many thanks for that—they greatly helped fund our summer internship programs for 2023 and 2024.Thanks to my producer Jessica Nguyen and Sinjun Balabanoff tor audio and video support at Scripps ResearchNote: you can select preferences to receive emails about newsletters, podcasts, or all I don't want to bother you with an email for content that you're not interested in.Comments for this post are welcome from all subscribers. Get full access to Ground Truths at erictopol.substack.com/subscribe

A series of conversations with Al-Mayassa bint Hamad bin Khalifa Al Thani and people who have been part of Qatar's architecture & culture development journey.In this episode, Her Excellency hosts former president of the Museum of Modern Art, and member of the Board of Trustees of the Qatar Museums Authority, Marie-Josée Kravis.Kravis is an economist who has served on the board of the Federal Reserve Bank of New York and the board of French luxury goods conglomerate LVMH. Since 2011, she has been involved with the biannual Marie-Josée Kravis Prize for New Music at the New York Philharmonic, and she has also served as the Board Chair of New York's Museum of Modern Art (MoMA). With her husband, she runs the Marie-Josée and Henry R. Kravis Foundation, which has contributed hundreds of millions of dollars to arts, culture, and medicine. Marie-Josée Kravis additionally supports New York's Lincoln Center for Performing Arts and Metropolitan Opera, and the Hermitage Collection at Somerset House in London.Marie-Josée Kravis and Her Excellency discuss the role of art and culture in enriching minds and contributing to the growth of grassroots small and medium-sized businesses. They also explore the intersection of art, fashion, and luxury hospitality; as well as how museums inspire and anchor the careers of future artists, contributing to nation building.The Power of Culture Podcast is a Qatar Creates production.See omnystudio.com/listener for privacy information.

Episode Notes Bibliography "Equal (2015)" - Dia Art Foundation. https://www.diaart.org/visit/visit/dia-beacon-beacon-new-york-usa/artwork/equal-2015-richard-serra "Equal (2015) by Richard Serra" - Artsy. https://www.artsy.net/artwork/richard-serra-equal "Equal" - Wikipedia. https://en.wikipedia.org/wiki/Equal_(sculpture) "Richard Serra: Sculpture, Prints, Drawings" - Gagosian. https://gagosian.com/artists/richard-serra/ "Richard Serra" - The Museum of Modern Art (MoMA). https://www.moma.org/artists/5345 "Richard Serra's ‘Equal' at David Zwirner, London" - Blouin ArtInfo. https://www.blouinartinfo.com/news/story/1251698/richard-serras-equal-at-david-zwirner-london "Richard Serra: Equal" - David Zwirner Gallery. https://www.davidzwirner.com/exhibitions/2015/richard-serra-equal "Equal by Richard Serra" - The Broad. https://www.thebroad.org/art/richard-serra/equal "Richard Serra" - Guggenheim Museum. https://www.guggenheim.org/artwork/artist/richard-serra "Equal" - Public Art Archive. https://www.publicartarchive.org/work/equal Find out more at https://three-minute-modernist.pinecast.co

Episode Notes Resources for info on Cy Twombly The Cy Twombly Foundation Website (cytwombly.org) The Museum of Modern Art (MoMA) (moma.org) The Gagosian Gallery (gagosian.com) Tate Modern (tate.org.uk) The Whitney Museum of American Art (whitney.org) Artforum (artforum.com) The Art Story (theartstory.org) The Guardian Art & Design Section (theguardian.com/artanddesign) The New York Times Art Section (nytimes.com/section/arts) Google Arts & Culture (artsandculture.google.com) Support our Patreon - https://www.patreon.com/3MinModernist Find out more at https://three-minute-modernist.pinecast.co

LoVid is a NY-based interdisciplinary artist duo working collaboratively since 2001. LoVid's practice focuses on aspects of contemporary society where technology seeps into human culture and perception. Throughout their interdisciplinary projects over two decades, LoVid has maintained their signature visual and sonic aesthetic of color, pattern, and texture density, with disruption and noise. LoVid's work captures an intermixed world layered with virtual and physical, materials and simulations, connection and isolation.LoVid's process  includes home-made analog synthesizers, hand-cranked code, and tangible materials; their videos, textile works, performances, net-art, installations, and NFTs have been exhibited worldwide for over two decades. LoVid's work has been presented internationally at venues including: Museum of Modern Art (MoMA), Standard Vision X Vellum LA, Wave Hill, Brookfield Arts, RYAN LEE Gallery, Art Blocks Curated, Postmasters Gallery, bitforms Gallery, Honor Fraser Gallery, Unit London, http://Verse.work, http://Expanded.Art, Art Dubai, New Discretions, And/Or Gallery, Klaus von Nichtssagend Gallery, Anthology Film Archives, Issue Project Room, The Science Gallery Dublin, The Jewish Museum, The Kitchen, Daejeon Museum, Smack Mellon, Netherland Media Art Institute, New Museum, and ICA London. LoVid's projects have received grants and awards from organizations including: The Robert Rauschenberg Foundation, Graham Foundation, UC Santa Barbara, Signal Culture, Cue Art Foundation, Eyebeam, Harvestworks, Wave Farm, Rhizome, Franklin Furnace, http://Turbulence.org, New York Foundation for the Arts, Lower Manhattan Cultural Center, Experimental TV Center, NY State Council of the Arts, and Greenwall Foundation.LoVid's videos are distributed by EAI and their work is in the collection of the Whitney Museum, The Museum of Moving Image, The Parrish Museum, Thoma Foundation, Watermill Center, Butler Institute of American Art, Heckscher Museum, NFT Museum of Digital Art, Museum of Nordic Digital Art, and more.

In this episode of Citizens Climate Radio, listeners hear stories, insights, and innovative approaches to tackling climate change. From the unique perspective of a climate change comedian who marries humor with serious environmental advocacy to the empowering tales of youth activism at the global COP28 summit, this episode showcases diverse methods of engagement and action. Highlighting the importance of resilience, space for mental and emotional health, and the groundbreaking work of package-free shopping, it will inspire you while providing you with practical guidance.  A Climate Change Comedian? Brian Ettling shares his compelling journey from a park ranger to an influential climate change comedian, a story that encapsulates the essence of turning gloom into bloom. With seventeen years of experience as a seasonal ranger in the majestic landscapes of Crater Lake National Park and Everglades National Park, Brian shares how a simple yet profound question about global warming from a park visitor sparked a drastic shift in his career path and life purpose.  “Excuse me, all-knowing ranger,” a visitor said. “I have a question.” I smiled, humbly curious and certain I had the answer. “What's happening with global warming in the Everglades?” Wait. What?! I knew nothing about global warming, and visitors hate when park rangers tell you, 'I don't know. Brian spent time researching the question and was shocked by what he discovered.  The information I learned scared me. What the (bleep)! Because of climate change, sea level was expected to rise at least three feet in Everglades National Park by the end of the 21st century. The sea would swallow up most of the park and nearby Miami since the highest point of the park road is less than three feet above sea level. UGH, I hate you, climate change! This pivotal moment led him to deeply research climate change, eventually inspiring him to merge his passion for environmental advocacy with his unique sense of humor. An amateur video on YouTube led to two national television appearances on Comedy Central's Tosh.0. Daniel Tosh introduced America to the goofball who became the Climate Change Comedian.  Brian's narrative is a vivid testament to the power of individual transformation and the role of creativity in addressing serious global issues. He illustrates this by recounting defining moments in his journey, and he invites us to experience the journey complete with silly sound effects and a musical score.  Brian Ettling is a dynamic climate change communicator from Portland, Oregon, with a deep history of engagement with Citizens Climate Lobby (CCL). Over the years, he has worn multiple hats within CCL, including legislative liaison, co-chapter leader, and Missouri State co-coordinator. His dedication is evident in his attendance at nine CCL international conferences in Washington, D.C., where he served as a breakout speaker. Additionally, Brian has contributed his insights at the Canadian National CCL conference, showcasing his unwavering commitment to climate advocacy. For a complete transcript and more, visit https://citizensclimatelobby.org/blog/podcast/episode-92-theres-something-funny-about-climate-change/ Resilience Corner Tamara Staton explores the nuanced relationship between space—both physical and emotional—and climate advocacy. Tamara emphasizes the importance of creating space for rest and reflection to enhance effectiveness in climate activism. She illustrates this with personal anecdotes, suggesting, "When I create space, I enable presence and perspective... Creating space widens our window of tolerance, allowing us to respond with grace, ease, and courage to the challenges we face." She underscores the critical balance between passionate activism and the need for self-care to sustain long-term engagement in climate work. Tamara Staton is the Education and Resilience Coordinator for Citizens Climate Education. Get more tips and resources by visiting The Resilience Hub on CCL Community. NEW! The CCL Youth Corner The Citizens Climate Lobby Youth Corner introduces a vibrant platform where middle and high school students across the USA amplify their voices on climate action. Host Veda Ganesan highlights their proactive efforts to make their voices heard at COP28. She shares the important role CCL Youth volunteer Vinay Karthik played at the international conference in Dubai. In the next Youth Corner, you will learn about The Great School Electrification Challenge. Dig Deeper: Check out the CCL Youth Blog. Veda Ganesan is the producer and host of CCR's new Citizens Climate Lobby Youth Corner; it is a project of CCL Youth. Veda also hosts Sustainable Cents podcast.  Good News  Damon Motz-Storey (they, them) shines a spotlight on the Realm Refillery in Portland, Oregon, a pioneering package-free grocery store. It exemplifies sustainable shopping by offering a wide variety of bulk goods, from flour to laundry detergent, all without disposable packaging, presenting a compelling model for reducing single-use plastics and living one's environmental values. Damon Motz-Storey is an active climate advocate and the Oregon Chapter Director of the Sierra Club, dedicated to promoting sustainable practices and environmental conservation. In other Good News, Peterson Toscano highlights two innovative climate change exhibitions in New York City museums. At the Museum of Modern Art (MoMA), Life Cycles: The Materials of Contemporary Design showcases the intersection of design and sustainability, featuring Solar Ivy, a system of small solar panels resembling leaves that generate energy from sunlight and wind. Additionally, the Climate Museum in SOHO focuses entirely on climate change, currently featuring “The End of Fossil Fuel," and encourages visitors to engage in actionable steps toward environmental advocacy. If you have a Good News Story to share, contact us: Radio @ CitizensClimate.org Take a Meaningful Next Step Each month, we will suggest meaningful, achievable, and measurable next steps for you to consider. We recognize that action is an antidote to despair. If you need help with what you can do, please take a look at one of the following next steps.  If you are in middle or high school, visit CCLUSA.org/Youth to learn about their Great School Electrification Challenge! If you are a college student, you can get involved with CCL Higher Education and the College Carbon Fee and Dividend Movement. You can learn how you can jumpstart a campaign on your campus. Sign up for monthly text reminders to contact your members of Congress and get the step-by-step guidance you need to reach lawmakers effectively. Visit CCLUSA.org/Action Stay Tuned In the March 2024 episode, you will meet Erica Valdez, the newest team member of Citizens Climate Radio. Erica, Horace, and Peterson will engage in a discussion on the various roles individuals can adopt in addressing climate change. Eileen Flannagan, a Quaker author, activist, and trainer, will elaborate on the four roles change-makers often play: Advocate, Rebel, Helper, and Organizer. They ask, “What is your role on this new planet???” The episode is set to premiere on Friday, March 22nd, 2024. Listener Survey We want to hear your feedback about this episode. After you listen, feel free to fill in this short survey. Your feedback will help us make new decisions about the content, guests, and style of the show. You can fill it out anonymously and answer whichever questions you like. You can also reach us by email: radio @citizensclimatelobby.org  

In this episode, we embark on a cultural odyssey through the heart of Manhattan, immersing ourselves in the world of its most renowned museums. From the iconic Museum of Modern Art (MoMA) to the awe-inspiring American Museum of Natural History and the cosmic wonders of the Hayden Planetarium, join us as we discover the treasures of art, history, science, and more, nestled within the bustling streets of New York City.Our journey begins at MoMA, where we delve into the revolutionary ideas and movements that have shaped contemporary art. Marvel at masterpieces like Vincent van Gogh's 'Starry Night' and Pablo Picasso's 'Les Demoiselles d'Avignon,' and explore the ever-changing exhibitions that showcase cutting-edge art and diverse perspectives.Next, we explore the American Museum of Natural History, a portal to the wonders of the natural world and the universe. Encounter dinosaur fossils, dioramas of global habitats, and the fascinating Hall of Human Origins.Don't miss the immersive experience at the Hayden Planetarium, where you'll journey through the cosmos and witness the universe's grandeur.Our adventure continues at The Metropolitan Museum of Art (The Met), where we explore 5,000 years of human creativity. Wander through galleries housing Egyptian artifacts, European masterpieces, and the iconic Temple of Dendur. Discover The Cloisters, a serene medieval European art and garden sanctuary.The 9/11 Memorial & Museum pays tribute to lives lost in the tragic events of September 11, 2001, offering a profound experience of resilience and remembrance.We also visit The Whitney Museum of American Art, The Guggenheim, The Frick Collection, and The New Museum of Contemporary Art, each offering unique insights into American art and culture.Join us as we uncover the vibrant cultural tapestry of Manhattan's museums in this enriching episode of 'Travel Is Back.'"

Join Quenton Baker and special guests for a celebration of and conversation on their new book ballast. This event occurred on April 26, 2023. Ballast is a poetic sequence using the 1841 slave revolt aboard the brig Creole as a lens through which to view the vitality of Black lives and the afterlife of slavery. In 1841, the only successful, large-scale revolt of American-born enslaved people erupted on the ship Creole. 135 people escaped chattel slavery that day. The event was recounted in US Senate documents, including letters exchanged between US and British consulates in The Bahamas and depositions from the white crew on the ship. There is no known record or testimony from the 135 people who escaped. Their story has been lost to time and indifference. Quenton Baker's ballast is an attempt at incomplete redress. With imagination, deep empathy, and skilled and compelling lyricism, Baker took a black marker to those Senate documents and culled a poetic recount of the Creole revolt. Layers of ink connect readers to Baker's poetic process: (re)phrasing the narrative of the state through a dexterous process of hands-on redactions. Ballast is a relentless, wrenching, and gorgeously written book, a defiant reclamation of one of the most important but overlooked events in US history, and an essential contribution to contemporary poetry. Poets: Quenton Baker is a poet, educator, and Cave Canem fellow. Their current focus is black interiority and the afterlife of slavery. Their work has appeared in The Offing, jubilat, Vinyl, The Rumpus, and elsewhere.They are a two-time Pushcart Prize nominee and the recipient of the2018 Arts Innovator Award from Artist Trust. They were a 2019 Robert Rauschenberg Artist in Residence and a 2021 NEA Fellow. They are the author of This Glittering Republic (Willow Books, 2016) and we pilot the blood (The 3rd Thing, 2021). Marwa Helal was born in Al Mansurah, Egypt. She is the author of Ante body (Nightboat Books, 2022), Invasive species (Nightboat Books, 2019), the chapbook I AM MADE TO LEAVE I AM MADE TO RETURN (No Dear, 2017) and a Belladonna chaplet (2021). Helal is the winner of BOMB Magazine's Biennial 2016 Poetry Contest and has been awarded fellowships from the Whiting Foundation, New York Foundation of the Arts, Jerome Foundation, Poets House, Brooklyn Poets, and Cave Canem, among others. She has presented her work at the Museum of Modern Art (MoMA), the Studio Museum in Harlem, the Brooklyn Museum, and the Guggenheim Museum. Douglas Kearney has published seven collections, including Optic Subwoof (2022), the 2022 Griffin Poetry Prize-winning Sho (2021), Buck Studies (2016), winner of the Theodore Roethke Memorial Poetry Award, the CLMP Firecracker Award for Poetry, and California Book Award silver medalist (Poetry). M. NourbeSe Philip calls Kearney's collection of libretti, Someone Took They Tongues (2016), “a seismic, polyphonic mash-up.” Kearney's Mess and Mess and (2015), was a Small Press Distribution Handpicked Selection that Publisher's Weekly called “an extraordinary book.” WIRE magazine calls Fodder (2021), a live album featuring Kearney and frequent collaborator, Val-Inc., “Brilliant.” Natasha Oladokun is a Black, queer poet and essayist from Virginia. She earned a BA in English from the University of Virginia, and an MFA in creative writing from Hollins University. She holds fellowships from Cave Canem, the Virginia Center for Creative Arts, the Jackson Center for Creative Writing, Twelve Literary Arts, and the University of Wisconsin-Madison, where she was the inaugural First Wave Poetry fellow. Watch the live event recording: https://youtube.com/live/Sp7hlQNb2FE?feature=share Buy books from Haymarket: www.haymarketbooks.org Follow us on Soundcloud: soundcloud.com/haymarketbooks

Austin Ratner has an interesting background. After graduating from medical school he decided to change careers. Rather than continuing in medicine he became a fiction writer. This shift seemed to be a good decision since he won the Sami Rohr Prize for Jewish literature for his first novel, The Jump Artist. He also wrote The Psychoanalyst's Aversion to Proof which demonstrated his thorough understanding of Freud's brilliance as well as some of the difficulties he encountered. Currently, Austin has taken on a new role as the editor of The American Psychoanalyst (TAP). He intends to increase the visibility of psychoanalysis by broadening the scope of issues that psychoanalysis can help solve. With the assistance of Austin Hughes who creates new ways of telling stories that inspire readers and creative designer, Melissa Overton, who has designed many impressive projects including collaborative creations at The Museum of Modern Art (MoMA), Austin and his team are redefining how powerful psychoanalysis can be to a myriad of professions. Along with artistic and design changes, the magazine now includes regular sections on research, art and culture, work and education written in part by professional lay writers who know how to “speak” to people in other fields. A social media content manager is helping to develop strategies that are intended to engage readers by organizing and delivering digital content to online platforms. Lucas McGranahan who was copyeditor for the old TAP is making major contributions as managing editor for the new TAP. In addition to being a vital part of this new initiative Lucas is also editor of Tableau, the humanities magazine of the University of Chicago. Austin also has contributed to the new magazine by writing about racism and the challenges we face due to its devastating effect on all of us. In “Beyond Immolation and Infighting” he points out the fact that diversity takes work while highlighting the importance of the Holmes Commission Report, “In one of the many rhetorically powerful passages, the Holmes Report offers this gateway to a psychoanalytic understanding of systemic racism and obstacles to seeing it and stopping it” (Ratner, 2023).1 1“The Holmes Commission on Racial Equality (CO-REAP) was established within the American Psychoanalytic Association on recommendation of the Black Psychoanalysts Speak national organization. CO-REAP's purpose is to identify and to find remedies for apparent and implicit manifestations of structural racism that may reside within American psychoanalysis. The Final Report is based on the study of American psychoanalytic institutes, training centers and societies within and across different organizational auspices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychoanalysis

Austin Ratner has an interesting background. After graduating from medical school he decided to change careers. Rather than continuing in medicine he became a fiction writer. This shift seemed to be a good decision since he won the Sami Rohr Prize for Jewish literature for his first novel, The Jump Artist. He also wrote The Psychoanalyst's Aversion to Proof which demonstrated his thorough understanding of Freud's brilliance as well as some of the difficulties he encountered. Currently, Austin has taken on a new role as the editor of The American Psychoanalyst (TAP). He intends to increase the visibility of psychoanalysis by broadening the scope of issues that psychoanalysis can help solve. With the assistance of Austin Hughes who creates new ways of telling stories that inspire readers and creative designer, Melissa Overton, who has designed many impressive projects including collaborative creations at The Museum of Modern Art (MoMA), Austin and his team are redefining how powerful psychoanalysis can be to a myriad of professions. Along with artistic and design changes, the magazine now includes regular sections on research, art and culture, work and education written in part by professional lay writers who know how to “speak” to people in other fields. A social media content manager is helping to develop strategies that are intended to engage readers by organizing and delivering digital content to online platforms. Lucas McGranahan who was copyeditor for the old TAP is making major contributions as managing editor for the new TAP. In addition to being a vital part of this new initiative Lucas is also editor of Tableau, the humanities magazine of the University of Chicago. Austin also has contributed to the new magazine by writing about racism and the challenges we face due to its devastating effect on all of us. In “Beyond Immolation and Infighting” he points out the fact that diversity takes work while highlighting the importance of the Holmes Commission Report, “In one of the many rhetorically powerful passages, the Holmes Report offers this gateway to a psychoanalytic understanding of systemic racism and obstacles to seeing it and stopping it” (Ratner, 2023).1 1“The Holmes Commission on Racial Equality (CO-REAP) was established within the American Psychoanalytic Association on recommendation of the Black Psychoanalysts Speak national organization. CO-REAP's purpose is to identify and to find remedies for apparent and implicit manifestations of structural racism that may reside within American psychoanalysis. The Final Report is based on the study of American psychoanalytic institutes, training centers and societies within and across different organizational auspices. 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

Austin Ratner has an interesting background. After graduating from medical school he decided to change careers. Rather than continuing in medicine he became a fiction writer. This shift seemed to be a good decision since he won the Sami Rohr Prize for Jewish literature for his first novel, The Jump Artist. He also wrote The Psychoanalyst's Aversion to Proof which demonstrated his thorough understanding of Freud's brilliance as well as some of the difficulties he encountered. Currently, Austin has taken on a new role as the editor of The American Psychoanalyst (TAP). He intends to increase the visibility of psychoanalysis by broadening the scope of issues that psychoanalysis can help solve. With the assistance of Austin Hughes who creates new ways of telling stories that inspire readers and creative designer, Melissa Overton, who has designed many impressive projects including collaborative creations at The Museum of Modern Art (MoMA), Austin and his team are redefining how powerful psychoanalysis can be to a myriad of professions. Along with artistic and design changes, the magazine now includes regular sections on research, art and culture, work and education written in part by professional lay writers who know how to “speak” to people in other fields. A social media content manager is helping to develop strategies that are intended to engage readers by organizing and delivering digital content to online platforms. Lucas McGranahan who was copyeditor for the old TAP is making major contributions as managing editor for the new TAP. In addition to being a vital part of this new initiative Lucas is also editor of Tableau, the humanities magazine of the University of Chicago. Austin also has contributed to the new magazine by writing about racism and the challenges we face due to its devastating effect on all of us. In “Beyond Immolation and Infighting” he points out the fact that diversity takes work while highlighting the importance of the Holmes Commission Report, “In one of the many rhetorically powerful passages, the Holmes Report offers this gateway to a psychoanalytic understanding of systemic racism and obstacles to seeing it and stopping it” (Ratner, 2023).1 1“The Holmes Commission on Racial Equality (CO-REAP) was established within the American Psychoanalytic Association on recommendation of the Black Psychoanalysts Speak national organization. CO-REAP's purpose is to identify and to find remedies for apparent and implicit manifestations of structural racism that may reside within American psychoanalysis. The Final Report is based on the study of American psychoanalytic institutes, training centers and societies within and across different organizational auspices. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

This week, the brilliant Alexandra Schwartz considers pay equity in arts institutions, craft traditions' roles in art history, the re-evaluation of feminism post-Hillary Clinton, cultural determinism in fashion, the parallels between podcasting and curation, and if a selfie can ever be considered craft art. Alexandra Schwartz, Ph.D., is Curator of Modern & Contemporary Art, Craft, & Design at the Museum of Arts and Design, New York, and Adjunct Professor in the MA Program in Art Market Studies, SUNY Fashion Institute of Technology. Her exhibitions include Garmenting: Costume as Contemporary Art at MAD (2022); 52 Artists: A Feminist Milestone at the Aldrich Contemporary Art Museum (2022–23); Ed Ruscha: OKLA at the Oklahoma Contemporary (2021); As in Nature: Helen Frankenthaler Paintings at The Clark Art Institute (2017), and Come as You Are: Art of the 1990s (Montclair Art Museum and national tour, 2015-16), all with scholarly catalogues. She is the author of and Ed Ruscha's Los Angeles (MIT Press, 2010) and the co-editor of Modern Women: Women Artists at The Museum of Modern Art (MoMA, 2010). Schwartz previously held curatorial positions at The Museum of Modern Art and the Montclair Art Museum, and teaching positions at Columbia University, Fordham University, the University of Michigan, and the Whitney Museum of American Art, among other institutions.

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I was just saying to Eric yesterday, we were walking down the quay and talking and suddenly I said, "People just don't think about place enough. We don't recognize the importance of place." I think it's a little bit the social media environment that we're living in now where we're all bent over a screen, but to try to locate yourself in a place is reifying. It's identifying. It gives you a sense of positive self-consciousness. I think if you find that you're comfortable or not, just being able to feel out the positive or negative effects of a space or place is really important. And I don't think people spend enough time affording themselves that contemplation of place. And, to go back to my work, that's a little bit what I'm doing...I've been trying to sort of locate myself outside of myself as a way of reflecting back on who I am as a person."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I was just saying to Eric yesterday, we were walking down the quay and talking and suddenly I said, "People just don't think about place enough. We don't recognize the importance of place." I think it's a little bit the social media environment that we're living in now where we're all bent over a screen, but to try to locate yourself in a place is reifying. It's identifying. It gives you a sense of positive self-consciousness. I think if you find that you're comfortable or not, just being able to feel out the positive or negative effects of a space or place is really important. And I don't think people spend enough time affording themselves that contemplation of place. And, to go back to my work, that's a little bit what I'm doing...I've been trying to sort of locate myself outside of myself as a way of reflecting back on who I am as a person."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC.She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

"I was so mad at the Catholic Church and my upbringing and the way that my parents, my mother particularly, was so manipulated to think that if she did one thing for herself that she was somehow hurting Jesus and the local priests. I mean, it's such a brainwashing kind of situation. On the other hand, if you're raised Catholic, you're raised to believe in miracles. And the idea of transubstantiation. There's so many things about Catholicism, there's so much imagery that's magic, magical thinking, that lets your mind run free to a certain extent. You know, it does give you the willful ability to dream and imagine and just take off on crazy tangents. I mean religious people tend to be seekers and seekers tend to be the people that keep us whole and spiritually grounded and not just religious per se."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I was so mad at the Catholic Church and my upbringing and the way that my parents, my mother particularly, was so manipulated to think that if she did one thing for herself that she was somehow hurting Jesus and the local priests. I mean, it's such a brainwashing kind of situation. On the other hand, if you're raised Catholic, you're raised to believe in miracles. And the idea of transubstantiation. There's so many things about Catholicism, there's so much imagery that's magic, magical thinking, that lets your mind run free to a certain extent. You know, it does give you the willful ability to dream and imagine and just take off on crazy tangents. I mean religious people tend to be seekers and seekers tend to be the people that keep us whole and spiritually grounded and not just religious per se."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC.She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC.She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."The current climate situation is so overwhelming to people. This is a scale of problem that we have never encountered before. We talk about World War this and World War that, but this is a global catastrophe that's affecting every part of our planet. And it's, importantly, I think, bigger than anyone can actually take in. And I think everyone has the best intentions of trying to make positive change - unless it disturbs their cellphone use and their car driving too much. We have to get a little more serious about that.I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive.In terms of The Church arts center. It's not a religious institution, but it had been an old Methodist church that was built originally in 1835, and we renovated it to be an arts and creativity center. The arts are deeply important and creativity in all its forms is equally important to encourage and extol. So it was a natural place to develop that way, where we have art and poetry readings, and we have dance performances and rehearsals. And all of our residents are from different kinds of creative endeavors, and we haven't quite enacted this as much as I would like, but we want to have people who are computer scientists, composers, environmentalists, and anyone who is using creativity to make a positive change in the world and to express themselves. So that's the basic idea."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I've chosen my work because I've loved the outside world. I love the things outside of myself. I love what isn't immediate to me. And I love projecting onto that as a way of kind of trying to reach the distance between my inner self and the vastness. To try to do that in a way that makes other people feel inspired by it, not be chided for not taking care of it. It's not something that I intend to be a message per se, but I think it might be a better message if it's not saying, "People, you've been bad. You have to change your evil ways!"You know, I'd rather people look at the natural world and see the heartbreaking beauty of it and sense its fragility and its impermanence and their own impermanence and fragility and then have a response to that rather than say, you know, you have to act, you have to do something. I would hope that would inspire action rather than to cudgel them with a directive.In terms of The Church arts center. It's not a religious institution, but it had been an old Methodist church that was built originally in 1835, and we renovated it to be an arts and creativity center. The arts are deeply important and creativity in all its forms is equally important to encourage and extol. So it was a natural place to develop that way, where we have art and poetry readings, and we have dance performances and rehearsals. And all of our residents are from different kinds of creative endeavors, and we haven't quite enacted this as much as I would like, but we want to have people who are computer scientists, composers, environmentalists, and anyone who is using creativity to make a positive change in the world and to express themselves. So that's the basic idea."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I just started reading Emerson, and I'm glad that I've gotten to it because he talks about history and says that folded into every person, if you think of this as a fractal situation, I was just reading about this and it blew my mind. There is the understanding and the containment of all of history, of all dreams, of all desires of all the furthest reaches of our minds and our accomplishments are folded into every person. And how astonishing is that? I mean, I'm so mad at people all the time about what a mess everything is. On the other hand, we are just astonishing. And we have so much potential. But we're also so misdirected by advertising, by product placement, by false desires - say, to get everybody addicted to corn syrup and then have them develop diabetes is really evil, in my opinion. So I'm just always swinging wildly between an appreciation at the amazement of the human spirit and humanity and its accomplishments and then frustration at the bad uses to which that's put."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I just started reading Emerson, and I'm glad that I've gotten to it because he talks about history and says that folded into every person, if you think of this as a fractal situation, I was just reading about this and it blew my mind. There is the understanding and the containment of all of history, of all dreams, of all desires of all the furthest reaches of our minds and our accomplishments are folded into every person. And how astonishing is that? I mean, I'm so mad at people all the time about what a mess everything is. On the other hand, we are just astonishing. And we have so much potential. But we're also so misdirected by advertising, by product placement, by false desires - say, to get everybody addicted to corn syrup and then have them develop diabetes is really evil, in my opinion. So I'm just always swinging wildly between an appreciation at the amazement of the human spirit and humanity and its accomplishments and then frustration at the bad uses to which that's put."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I was just saying to Eric yesterday, we were walking down the quay and talking and suddenly I said, "People just don't think about place enough. We don't recognize the importance of place." I think it's a little bit the social media environment that we're living in now where we're all bent over a screen, but to try to locate yourself in a place is reifying. It's identifying. It gives you a sense of positive self-consciousness. I think if you find that you're comfortable or not, just being able to feel out the positive or negative effects of a space or place is really important. And I don't think people spend enough time affording themselves that contemplation of place. And, to go back to my work, that's a little bit what I'm doing...I've been trying to sort of locate myself outside of myself as a way of reflecting back on who I am as a person."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages."I just started reading Emerson, and I'm glad that I've gotten to it because he talks about history and says that folded into every person, if you think of this as a fractal situation, I was just reading about this and it blew my mind. There is the understanding and the containment of all of history, of all dreams, of all desires of all the furthest reaches of our minds and our accomplishments are folded into every person. And how astonishing is that? I mean, I'm so mad at people all the time about what a mess everything is. On the other hand, we are just astonishing. And we have so much potential. But we're also so misdirected by advertising, by product placement, by false desires - say, to get everybody addicted to corn syrup and then have them develop diabetes is really evil, in my opinion. So I'm just always swinging wildly between an appreciation at the amazement of the human spirit and humanity and its accomplishments and then frustration at the bad uses to which that's put."www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public DomainAdditional audio courtesy of Sag Harbor Cinema Arts Center.

"I just started reading Emerson, and I'm glad that I've gotten to it because he talks about history and says that folded into every person, if you think of this as a fractal situation, I was just reading about this and it blew my mind. There is the understanding and the containment of all of history, of all dreams, of all desires of all the furthest reaches of our minds and our accomplishments are folded into every person. And how astonishing is that? I mean, I'm so mad at people all the time about what a mess everything is. On the other hand, we are just astonishing. And we have so much potential. But we're also so misdirected by advertising, by product placement, by false desires - say, to get everybody addicted to corn syrup and then have them develop diabetes is really evil, in my opinion. So I'm just always swinging wildly between an appreciation at the amazement of the human spirit and humanity and its accomplishments and then frustration at the bad uses to which that's put."In this fractured world, how do the arts build community, understanding, and inspire change? How does art help us define who we are and our place in the world?April Gornik is known for her large scale landscape paintings which embrace the vastness of sea and sky. Her imagined landscapes, built up through a series of underpaintings are meditations on light and time. Her work is included in the collections of the Metropolitan Museum of Art, The Museum of Modern Art (MoMA), the Museum of Fine Arts Houston, and the Smithsonian American Art Museum in Washington, DC. She is a director of the board of the Sag Harbor Cinema Arts Center and co-founded The Church arts, exhibition space, and creativity center, which is a sanctuary for visual, performing, literary artists, and other creatives. Together with her husband the artist Eric Fischl, they are at the center of Sag Harbour's arts district, and in this episode, we'll also hear from some of the talented artists they've brought to their stages.www.aprilgornik.comwww.thechurchsagharbor.orgwww.milesmcenery.com/exhibitions/april-gornik2https://sagharborcinema.org/www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcastKimiko Ishizaka - Bach - Well-Tempered Clavier, Book 1 - 01 Prelude No. 1 in C major, BWV 846Creative Commons CC0 1.0 Universal Public Domain

Paola Antonelli is the Senior Curator of Architecture and Design at the Museum of Modern Art (MoMA), New York, where she also serves as the founding Director of Research and Development. She has been described as "one of the 25 most incisive design visionaries in the world" by TIME magazine. In this interview Paola talks about her vision of what design is. She believes that design touches every aspect of society, and that design has a civic responsibility towards humanity and the planet. “Design is the enzyme that makes progress happen”. Her biggest ambition is to enhance people's awareness of design and to make sure the world understands that design is not only cute chairs, sleek products, and fetching logos. But objects are not irrelevant, the controversial acquisition of the @ sign to the MoMA collection shows that collecting is not about ownership per se, since the sign belongs to everyone.     We talk about some of the more impactful exhibitions she has organized at MoMA and the 40-plus Salons that she has organized, that will not only inform the museum and its program, but also inspire the wider conversation in the world outside. The Salons are available on-line and new Salons can be enjoyed through the museum's live streaming. Paola also explains the vision behind the Instagram/podcast based project Design Emergency together with design critic Alice Rawsthorn. On a more personal note, we also talk about curiosity and adventure as major driving forces in her life, her passion for traveling and love for New York. We also get Paola's take on how AI and Refik Anadol's work “Unsupervised” have influenced her perspective on MoMA's collection. Paola Antonelli © 2021 The Museum of Modern Art, New York. Photo: Peter Ross  

7 月上旬，我在即刻上写下：「逛了一整天的梵高博物馆，看完之后还是久久不能忘怀，难以言说的震撼，大概也就是哭了十来次的水平吧。文字真的很难准确传达内心的感受了，录一期单口试试。」现在总算兑现了当时的想法。通过这次机会，我看见了热烈、浪漫、独来独往的梵高，他作为天才的一面逐渐变得具体。也看见了执拗、沉迷，甚至过分专注的梵高，他作为疯⼦的⼀⾯逐渐令人共情。当然，在「梵高」这个鼎鼎大名之下，他也只是一个普通人。他勤奋、上进，时常也会焦虑、反思和自我贬低。热爱世界，尊重底层人民，这是他的温柔和敏感。这一切的经历，都成为了他细腻笔触的一部分，让他创作出许多抚慰人心、震撼后世的作品。这算是我第一次正式录制单口，还有一些想表达的并没能那么成熟地传达出来，因此也欢迎各位在评论区里多给我一些反馈。祝大家收听愉快。【Timeline】一、梵高博物馆与本期播客00:04:32 梵高博物馆的特别之处00:07:41 主题式博物馆和主题式的信息摄入00:10:47 梵高博物馆的展厅布置00:13:59 为什么 Sarah 要读梵高的朋友伯纳德写的一封信？00:18:48 关于这期播客的展开方式二、梵高其人00:21:35 梵高的背景：中产家庭和紧张的亲子关系00:26:02 开始工作的青年梵高：从接触艺术到踏上传教士之旅00:34:20 27 岁，决心成为画家的梵高00:37:27 坚定走上艺术道路，勤奋又高产三、梵高艺术生涯里的几个关键时期（一）荷兰时期00:44:24 对农民的尊重、关怀和共情00:47:08 《吃土豆的人》00:50:52 梵高的情感插曲和与父亲的关系变化（二）安特卫普时期00:55:52 临摹浮世绘，加强自我风格00:57:32《盛开的杏花》（三）巴黎时期01:01:09 点彩画派的影响和自画像的创作（四）法国阿尔时期01:03:09 花的创作01:05:14 梵高画的杏树、桃树和李树01:06:29 割耳事件：被回应的孤独、与高更的争吵、精神失常的梵高（五）圣雷米时期01:12:28 不待见的邻居和高产的梵高01:14:29 在精神上支持和鼓励梵高的加谢医生01:17:35 梵高的自杀：「如果你要救我的话，那我就必须再做一次」四、伯纳德写给奥里埃的信01:19:15 背景介绍01:25:49 Sarah 的读信时间【梵高博物馆的导览图】【名词解释】博物馆1. 梵高博物馆（Van Gogh Museum）：一家位于荷兰阿姆斯特丹的一座博物馆，主要收藏荷兰著名画家梵高及其同时代者的作品。2. 纽约现代艺术博物馆（The Museum of Modern Art，简称 MoMA）：一家现代艺术博物馆，也是世界上最杰出的现代艺术馆之一，位于美国纽约市曼哈顿中城。1929 年，MoMA 从梵高的弟弟提奥的遗孀乔安娜手中购得梵高的《星夜》，并在馆中展出。3. 奥赛博物馆（法语：Musée d'Orsay）：一家位于法国巴黎的近代国家艺术博物馆，收藏了梵高于 1988 年创作的《罗纳河上的星夜》。4. 毕加索博物馆（Picasso Museum）：节目中提到的是在巴塞罗那和巴黎的毕加索博物馆。世界上一共有四座毕加索博物馆，分别位于西班牙的巴塞罗那和马加拉、法国的巴黎和昂蒂布。5. 普拉多博物馆（西语：Museo Nacional del Prado）：一家位于西班牙马德里的国家博物馆，主要收藏从 14 世纪到 19 世纪的欧洲绘画、雕塑和工艺品。6. 提森-博内米萨国立博物馆（西语：Museo Thyssen-Bornemisza）：马德里艺术金三角区的三大博物馆之一，紧邻普拉多博物馆与索菲亚王后艺术中心。馆内收藏的艺术品来自提森-博内米萨家族于20世纪初开始的私人收藏。艺术家索引1. 巴勃罗·鲁伊斯·毕加索（西语：Pablo Ruiz Picasso；1881 年 10 月 25 日 — 1973 年 4 月 8 日）：西班牙著名的画家、雕塑家、版画家，是立体主义的创始者之一，也是 20 世纪现代艺术的主要代表人物之一。代表作品有《格尔尼卡》等。2. 让-弗朗迪克·米勒（法语：Jean-François Millet，1814 年 10 月 4 日 — 1875 年 1 月 20 日）：法国巴比松派的画家。多以乡村风俗画中的人性展现为人知晓。代表作有《拾穗》《播种者》等。3. 奥斯卡-克劳德·莫奈（法语：Oscar-Claude Monet，1840 年 11 月 14 日 — 1926 年 12 月 5 日）：法国画家，被誉为是印象派代表人物和创始人之一。代表作品有《印象·日出》《睡莲》等。4. 保罗·高更（法语：Eugène Henri Paul Gauguin，1848 年 6 月 7 日 — 1903 年 5 月 8 日）：法国后印象派的画家和雕塑家。代表作包括《我们从哪里来？我们是谁？我们往哪里去？》等。5. 伦勃朗·哈尔门松·范赖恩（荷兰语：Rembrandt Harmenszoon van Rijn；1606 年 7 月 15 日 — 1669 年 10 月 4 日）：荷兰画家，巴洛克绘画艺术的代表画家之一。代表作品有《夜巡》《拉撒路的复活》等。6. 阿道夫·蒙蒂塞利（法语：Adolphe Monticelli，1824 年 10 月 14 日 — 1886 年 6 月 29 日）：印象派画家之前的一代法国画家，是梵高高度欣赏的艺术家。艺术风格 / 流派1. 浮世绘：一种日本传统的木刻版画艺术形式，起源于 17 世纪的江户时代，并兴盛于 18 至 19 世纪，而且对西方系数（比如印象派）产生了很大的影响。主要特点是线条流畅、色彩鲜艳、构图简洁。代表人物有葛饰北斋、菱川师宣等。2. 印象派：一种 19 世纪后半叶在法国兴起的艺术流派。它以其对光影和色彩的独特表现方式而闻名。代表人物有莫奈、梵高等。3. 点彩画派：一种 19 世纪末期兴起的一种绘画技法和艺术风格，属于后印象派的一种表现形式。点彩派画家将纯色点或线条排列在一起，使观者在视觉上产生混合色彩的效果。代表人物有乔治·修拉等。【相关链接】文字1. 《看见》，发布于孟岩的同名公众号2. Sarah 在即刻上发布的相关动态「逛了一整天的梵高博物馆，难以言说的震撼」《盛开的杏花》和热门单曲 Golden Hour 的封面之间的关联「最打动我的还是他笔下的花」第一次听伯纳德写给奥里埃的信奥里埃在《法国商业杂志》上发表的评论在提森博物馆偶遇伯纳德的四幅画视频1. 梵高博物馆的收藏品2. 梵高博物馆的 Youtube 频道发布的 4K 线上导览视频3. 《吴文芳：40小时看世界 第五季》（2021）里关于梵高的视频第 1 集 梵高：最疯狂的艺术家（上）第 2 集 梵高：最疯狂的艺术家（下）4. 《至爱梵高·星空之谜》（2017）：一部讲述梵高生平的传记类动画电影。播客1. 《42 30岁后爱上梵高》by 来日方长radio | 不止是聊日本2. 《44. 梵高：未完成的爱情，与不朽的画作》 by 梁永安的播客【梵高相关】梵高的代表作品1. 《吃土豆的人》（The Potato Eaters）：于 1885 年创作的油画作品。2. 《向日葵》（Sunflowers）：共有七幅，是梵高在 1888 年至 1889 年间所绘的一系列画作。下图为 1889 年 1 月创作的版本。3. 《盛开的杏花》（Almond Blossom）：于 1888 年至 1890 年间在法国的阿尔勒和圣雷米创作的画作。4. 《粉色果园》（The Pink Orchard）：1888 年 4 月上旬于法国的阿尔勒创作的画作。5. 《粉色桃树》（The Pink Peach Tree）：1888 年 4 月至 5 月于法国的阿尔勒创作的画作。6. 《白色果园》（The White Orchard）：1888 年 4 月于法国的阿尔勒创作的画作。7. 《星夜》（The Starry Night）：于 1889 年在法国圣雷米的一家精神病院里创作的一幅油画。梵高身边的人（以下名称皆为法语名）1. 提奥·梵高（Theodorus van Gogh）：梵高的弟弟，是梵高长久的支持者，也是和梵高关系最亲密的人。2. 乔安娜·梵高·邦格（Johanna van Gogh-Bonger）：梵高的弟媳，在梵高去世后珍藏了梵高的诸多作品。在梵高去世后的十年里，为梵高办了七次画展，前六次反应平平，直到第七次才引起轰动。自此，梵高才终于声名鹊起。3. 埃米尔·伯纳德（Émile Bernard）：一位法国后印象派画家和作家，与梵高、高更等人建立了艺术友谊。4. 凯·沃斯·斯特里克（Kee Vos-Strickeer）：梵高的表姐，也是梵高第二次恋爱的对象5. 文森特·威廉·梵高（Vincent Willem van Gogh）：梵高的侄子，与梵高同名。跟随母亲乔安娜的步伐，积极推广从母亲那里继承来的梵高画作和信件。6. 加谢医生（Dr. Gachet）：梵高在精神病院认识的精神科医生，也是一位热衷于绘画的艺术家。始终鼓励着梵高的创作。7. 约瑟夫·鲁林（Joseph Roulin）：一位在法国阿尔勒火车站的邮差，是梵高在阿尔为数不多的好朋友。8. 阿尔贝·奥里埃（Albert Aurier）：一位法国的艺术评论家、画作和作家。1890 年 1 月，在《法国商业杂志》中热烈赞扬了梵高的画作。与梵高相关的信件1. 梵高书信全集2. 梵高的弟弟提奥给阿尔贝·奥里埃的信开场 / 片尾音乐：Starry Starry Night by Lianne La Havas转场声音：在葡萄牙西南角的辛特拉小镇街边，Sarah 录制的里拉琴弹奏声（okjk.co）转场配乐：Golden Hour by JVKE读信配乐：koko by 坂本龙一制作：Sarah、二琳、我不跑调（okjk.co）剪辑：二琳

Embodiment for the Rest of Us - Season 3, Episode 7: Wednesdae Reim Ifrach   Chavonne (she/her) and Jenn (she/her) interviewed Wednesdae Reim Ifrach (they/them) about their embodiment journey.   Wednesdae is a trans/non-binary art therapist, fat activist and artist whose work focuses on body justice, intersectional social justice and eating disorder treatment equity access.    They also co-own and operate Rainbow Recovery where they support people through the gender affirmation process, complex trauma recovery, eating disorder recovery and body image issues through the use of art, creative expression and traditional talk therapy.    Wednesdae melds the world of art therapy, social justice, trauma recovery and eating disorder recovery into a unique opportunity for people to expand their understanding of the world. To that end Wednesdae had the honor to participate in the Museum of Modern Art (MoMA)'s Artful Practices for Well-being and has had artwork on display at the Baltimore Museum of Art as part of Art as Activism.   They have presented at national and international conferences, are a former adjunct professor and continues to guest lecture. They also serve on the Board of Project HEAL, a non-profit whose mission is to create treatment equity access in the eating disorder field. Wednesdae's biggest passions outside of work include spending time with their many rescue animals, experimenting with traditional family recipes, painting, and spending time with their partner.     Instagram   Content Warning: discussion of privilege, discussion of diet culture, discussion of fatphobia, discussion of racism, discussion of mental health, discussion of chronic medical issues, discussion of harm caused by helping professionals   Trigger Warnings: 1:14:40: Wednesdae discusses how sexual abuse can be covered by calling victims in treatment “noncompliant” 1:15:18: Wednesdae discusses typical eating disorder rules and how harmful and wrong they are 1:17:59: Wednesdae discusses their history of abuse 1:22:14: Wednesdae uses the word “nuts” in a way that is ableist   The captions for this episode can be found at https://embodimentfortherestofus.com/season-3/season-3-episode-7-wednesdae-reim-ifrach/#captions   A few highlights: 5:36: Wednesdae shares their understanding of embodiment and their own embodiment journey 19:58: Wednesdae discusses how the pandemic affected their embodiment practices  54:57: Wednesdae shares their understanding of “the rest of us” and how they are a part of that, as well as their privileges 1:07:58: Wednesdae discusses how their work with Rainbow Recovery and Project HEAL has influenced their own relationship with embodiment   1:19:04: Wednesdae shares how stereotypes of productivity, availability, and capability/capacity relate to being a clinician 1:24:48: Wednesdae discusses how listeners can make a difference based on this conversation 1:26:28: Wednesdae shares where to be found and what's next for them   Links from this episode: ADHD Anxiety Kelly Diels Michelle Phillips Nalgona Positivity Pride White Supremacy Culture   Music: “Bees and Bumblebees (Abeilles et Bourdons​)​, Op. 562” by Eugène Dédé through the Creative Commons License   Please follow us on social media: Website: embodimentfortherestofus.com Twitter: @embodimentus Instagram: @embodimentfortherestofus

Today's episode is all about designing a long life you love with Ayse Birsel. When you are older, you tend to be more open to actually exploring what YOU expect of life. Finally. You're at least open to the idea that it's time to put yourself first. My guest today is Ayse Birsel. She's one of the world's leading industrial designers; her work can be found in the permanent collection of the Museum of Modern Art (MoMA).  She has helped thousands of people across the globe transform their lives by teaching them how to solve life's problems using design, which has earned her the nickname Design Evangelista.   Learn more: https://suzyrosenstein.com/ep-301-how-you-can-design-the-long-life-you-love-with-ayse-birsel/

This week, hear about some soon-to-close art shows around town. Today: Michelle Kuo, curator of painting and sculpture at the Museum of Modern Art (MoMA), talks about Refik Anadol's stunning "Unsupervised" digital artwork, extended through April 15th.