Podcasts about Moma

Ben Dietz convenes Casey Lewis (After School), Daisy Alioto (Dirt), and Erica Chen (Media Futures Group, WPP) on the collapse of the wall between editorial and commerce. Publishers are shipping perfume, brands are hiring writers, and the relationship forming in your inbox isn't human-to-human anymore.  What happens when the scenic route is quicker? When “wasted” time actually is the relationship? Your total addressable market now includes agents, and those agents are trained on the taste you are curating. After all – what you buy is who you become, but what you read is how you decide.  Base Notes: Upper Lip Sweat and Hot Metal Key takeaways: Publishers now make products; brands now make publications. The wall stopped mattering. Optimization is a process of reduction, and serendipity gets cut first. Brands flame out at issue two or three without a point of view. Taste-driven publishers have a new addressable market: agents trained on taste. [12:48] "The best ROI does not necessarily give you growth, because growth comes in volumes." – Erica Chen [21:15] "When your audience knows to expect you… you really have to stay true to that." – Casey Lewis [28:50] "Our total addressable market now includes agents." – Daisy Alioto [30:32] "Creators are the cure to the media fragmentation." – Erica Chen Associated Links: Casey Lewis – After School on Substack Erica Chen – "In Defense of Serendipity" Daisy Alioto – Read Dirt @ dirt.fyi Tasteland podcast – Daisy Alioto & Francis Zierer VISIONS Summit 2026 – November 3, 2026 at MoMA. Listen to today's episode for 25% off Check out Future Commerce on YouTube Check out Future Commerce Plus for exclusive content and save on merch and print Subscribe to Insiders and The Senses to read more about what we are witnessing in the commerce world Listen to our other episodes of Future Commerce Have any questions or comments about the show? Let us know on futurecommerce.com, or reach out to us on Twitter, Facebook, Instagram, or LinkedIn. We love hearing from our listeners! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

What does it really mean to build bridges that last for decades? I want you to meet Bircan Unver, whose lifelong commitment to responsibility, creativity, and global citizenship has shaped more than 25 years of meaningful work through Light Millennium. From growing up as the eldest of seven children in Turkey to creating an internationally recognized nonprofit connected with the United Nations, Bircan shares how art, public media, and open dialogue can bring people together across cultures. We explore why responsibility begins with each of us, how local communities can help solve global challenges, and why issues like water security, environmental stewardship, and human connection matter more than ever. I believe you'll enjoy hearing how one person's unstoppable mindset continues to inspire collaboration, education, and hope for a better future. Highlights: 06:55 - How growing up with responsibility shaped Bircan's lifelong commitment to serving others. 18:30 - Why public access television became the foundation for sharing voices and building community. 26:15 - The story behind founding Light Millennium and creating a nonprofit built on dialogue and education. 36:55 - How local communities can play a meaningful role in advancing United Nations goals. 49:45 - Why water security, cybersecurity, and gender equality are becoming deeply connected. 55:40 - Bircan reflects on preserving ideas through books, creativity, and lifelong learning. About the Guest: Bircan Ünver is the Founder-President of The Light Millennium, a Charitable Global Human Advancement Organization (LMGlobal.Org, 2001, New York); Executive Producer of the LMTV Programs; Multi-Media and Event Producer; Host, Author, Publisher, Public Speaker; [Head] NGO Representative of The Light Millennium to the United Nations Department of Global Communications since 2005 (formerly, UN.DPI); and Chair, Outreach and Partnerships Subcommittee at Global NGO Executive Committee and director for the 2021-2023 term. She has been also a Content Provider at QPTV since 1992, and she is the editor and co-founder of the U.S. Turkish Library & Museum Project. She has undertaken the Organization's e-publications, public programs since its inception in August 1999, and #LightMillenniumTV Series and Specials in all aspects of it since January 2000; along with, the LMGlobal.Org's all UN-related activity and programs since 2005. Bircan is the author and director of the Compulsory Peace & ICTs Education from Kindergarten to K-12, and Beyond Campaign, which she launched it through the Light Millennium Global in support of the Summit of the Future in 2024. The Campaign has delivered its 8th session along with the Coalition for the Campaign, which contains 22 organizations and educational institutions including The Light Millennium Global as the leading organization. Further,  she is also author of the bi-annual international high school project, “J.U.C. Media, Research, Writing & Innovation Awards”. The third of its kind was dedicated to the “Water Action Decade” and was delivered  (virtually) on the World Water Day, March 22, 2025. Bircan served as a mentor to the GPODS for three consecutive terms in Winter'22, Summer'22, and Fall'22 Fellowship Programs; and delivered lectures on “How to associate with the UN-NGO”, Public Access TVs in the U.S., and the latest one was on the #WaterActionDecade and the #2023UNWater Conference. To attach that, on behalf of LMGlobal.Org, she organized and hosted an Outside-UN Side Event ID #W175, titled, “What Is Your Commitment To The #WaterActionDecade? ~ Seven Core Ideas Toward #WaterAwareness, #WaterConscience and #GameChangers” in NYC on March 21, 2023, and was the head delegate of the LMGlobal.Org at the #UN2023WaterConference. Based on LMGlobal.Org's Commitments to the #WaterActionDecade, she launched #OneMinuteWaterActionCommitment during the #W175 Side Event, along with continues to work toward #WaterAwareness toward building up #WaterConscience.  She served as the chair of the ATAA Committee on UN Relations, guided its association to the UNDGC in 2020, and also served as the New York Regional Vice-President of ATAA (Assembly of Turkish American Associations) from October 2019 to January 2022. Furthermore, she served on several Planning Committees of the UN-Civil Society Conferences, and the Planning Committee of the High-Level Forum on the Culture of Peace (HLF-CoP). She has been a strong advocate of the UN Vision, Programs & Sustainable Development Goals (2015-2030) along with the relevant UN Days, which are in line with the LMGlobal.Org's Mission/Purposes since its association with the UNDGC (formerly, UN.DPI/NGO) in December 2005. Currently, Bircan is on the Advisory Board of the Turkish Forum (based in Germany). She encourages and guides interested civil society organizations and members of academia toward their educational institutions' associations with the UN, along with engaging them with the UN Programs that are within her networks and beyond. Further, she is an Ambassador of Peace and Goodwill for Anuvrat (Anuvibha) Global Organization (Jaipur, India, since 2014); and a Member of the Global Movement for the Culture of Peace (GMCoP, since 2012). Bircan is also the founder and president of the IsikBinyili.Org Association based in Istanbul (2010), which is a sister organization and counterpart of the LMGlobal.Org. Author of the following four book titles in print (Turkish): “En Kutsalı Yaratmak” (The Most Sacred is to Create) (1995, 2022), “Sanatın Labirentlerinde” (The Labyrinths of Arts) (2016), and “Işık Yollarında (“The Ways of the Light”) (poetry, 2017), and “Bin Yıl Daha…” (2020, A Thousand Years More…). Also, she is the author of the concept and compilation of the “Hope Never Fades” (English) book (Istanbul, 2023). Bircan initially received her local and studio television production certificates at QPTV.Org in 1992. Based on this capacity, she produced and broadcasted near to 260 television programs through local channels in New York City, which are also available online through www.vimeo.com/channels/LightMillenniumTV including 36 #OneMinute #WaterAction PSAs. Bircan celebrated her 30th Anniversary at QPTV.Org through a video profile, titled, “A Turkish Experience in America” (Duration: ~9 min. Production Year: 2022). Her works through The Light Millennium Global is a recipient of various national (U.S.) and international awards and recognitions including two awards from the Foundation of Alliance Community 2023 Hometown Media Awards (F-ACM-HMA for her “GroundWater” Light Millennium TV program in Web-based Programming and Online Events / Independent Producer categories (received at Brick TV, New York), the Anuvrat Ahimsa Award For International Peace-2023 (received in Mumbai, India), and the 2023 International Volunteer President Award by Institution of Green Engineers (received in Chennai, India), and ashe is also the recipient of the 2024 Best Web-Based Program – Independent Producer for the #HopeNeverFades program by F-ACM-HMA, which was produced based on the 2023 J.U.C. Media, Research & Writing Awards (ACM HomeTown Media Awards, San Jose, CA). Bircan holds a Bachelor of Arts (B.A.) Degree from the Mimar Sinan Fine Arts University (Istanbul, 1988) and a Master's Degree (M.A.) from Media Studies of the New School University (New York City 1999). Ways to connect with Bircan**:** Websites: www.lmglobal.org  (active web site) | www.lightmillennium.org (serves as the organization's web archive)#LightMillenniumTV | www.vimeo.com/LMTV | www.vimeo.com/channels/LightMillenniumTV Social Media: Linkedin: http://www.linkedin.com/in/bircan-ünver-7353207 X@lightmillennium Instagram@lightmillennium About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:04 What if the biggest thing holding you back isn't what's in front of you, but rather what you believe? Welcome to Unstoppable Mindset, where inclusion, diversity, and the unexpected meet. I'm your host, Michael Hingston, speaker, author, and advocate for inclusion and possibilities. This podcast explores how the beliefs we carry shape the way we live, lead, and connect with others. Each week, I talk with people who challenge assumptions, face adversity head-on, and show what's possible when we choose curiosity over fear. Together, we focus on mindset, resilience, and the small shifts that lead to meaningful change. Let's get started. Well, hello everyone, and I want to welcome you to another edition of Unstoppable Mindset, and today we get to talk to a very interesting person with a with a lot of roots in Turkey, but she is also doing a lot of work with the United Nations here in the U.S. and other places. Her name is Birchan Umfer, and I hope I got that right. And Bircan Unver  01:23 thank you. Michael Hingson  01:24 Oh, good. And Berjan is is with us, and is going to talk about a number of things that she is working on. She's working on, and for years has been involved with a program called Light Millennium, and we'll we'll talk about all that, but let's just start and and as usual we'll have a great conversation. So, Bir John, I want to welcome you to Unstoppable Mindset. We're glad you're here. Bircan Unver  01:50 Thank you so much, Michael Hingston. It's great honor and privilege to have your guests. Especially, I love the title Unstoppable Minds. It's really inspiring and triggering the mind. Thank you. Michael Hingson  02:08 Well, my pleasure. We're glad that you have the time to to spend with us, and we will we will we will do it and make it work. Well, let's start. I love to start this way because I really want people to learn about you. Tell us kind of about the early Birchan growing up, and then we'll go from there. So tell us about Birchan and growing up, and and and all of that. Bircan Unver  02:32 Thank you. This will be a little bit different than most people know about me, my work. Well, we'll get to Michael Hingson  02:38 your work. Bircan Unver  02:40 Yeah, I know. I mean, the people who already know my work. What I'm gonna say now is completely too different from Berja. So I am a elder of seven siblings, and I was born in an ancient village in Mid Anatolia, actually nearby the Black Sea region, and I'm proud with my age, 1959, and my family moved to town first from the village, and then Istanbul for our educations for their kids, and but I don't know really as a girl child growing up with seven kids, as especially with a traditional family, being older girl is not a good idea. But but maybe it was a kind of tough childhood as a girl child. I I don't feel that I never been a child. That's really what I feel. But on the other hand, and that was you know when you are growing up, living through like I was a kind of second mom, and also our home was kind of everyone our guest from the village town and stay over not only one night, like or a week, like sometimes months, even years. You won't believe that, and it was not because either. So, but those kind of build up maybe my feeling to be responsible, so I consider myself a responsible person because I was responsible for my sisters, brothers, and also washing dishes, making helping my mom to prepare the meal, lunch, breakfast, and clean up. Like you know, I was kind of second person, second mom at home. So those early things, all those stolen my childhood, but at the same time, provide me being able to do everything from very early age. Even though I remember several times at the time. The bread wasn't, you know, you you weren't buying the bread from the market, but from the bakery, real where they were baking the bread. So she was, and time to time also she was making the the bread at home, and then she she wasn't sending me to school because then I had to stay with my brothers and kids so she can make the you know breads a big amount for a couple days. So that said, also gave my idea. I want to suddenly want to work as soon as you know I'm 17, 1617, So and then I started early working at a bank, and it was my first eight years. I worked at a bank in Istanbul. It is called Istanbul Bank, and then my graphic is like life graphic is a little bit different, like curvy, not like straight line. Then after eight years working at a bank, I started to university and fine arts, and then I had kind of interest art history, especially TV production, art history, arts in in the concept is producing art documentaries. That was kind of my vision. Also, it was also my reason initially coming to the U.S. learning TV production. Of course, English as first. So that was very much my childhood until you know 18 until starting at the bank, and then the rest is another story. I have, I must say, I would have three different life. Michael Hingson  06:48 Well, you had certainly an interesting childhood, needless to say, and I, I can understand what you're saying about being the oldest and all the challenges. I was not. I was the youngest, but we only had two siblings, and neither of us we were we were both males, and so we we did not do a lot in terms of preparing meals and all that sort of stuff. Except my brother and I were both in the Boy Scouts, and so when we went camping and other things like that, we learned how to cook on an open or an open fire and and things like that. But still, I understand that you you had a a lot that you had to do. What lessons did you learn by being the oldest child? What kinds of things do you think that you you carry over to what to your life today, because you were the oldest. Bircan Unver  07:44 I think two different components of that. One is also because it wasn't only I was the as a kid at the home and as a girl, girl, but also at the time there wasn't that kind of awareness which we have today. Which I mean, my mom got married with my dad at the age of 15, and she had birth. She had given me birth at the age of 16, the reason I'm bringing up this, when we were going to shopping Kapolechar, Grand Market of Istanbul, when I was 1516, and literally we were halfway age difference between my mom and myself. And when I was saying mom, and the people were surprised, and she and isn't your sister, other sister? They were asking me, and she was my mom. So, but this is in the long later years. I always become the best friend with my mom, and even my brother was saying, "Oh, now I understood that she, you are the joy of my mom because she can kind of a joke, and the others, my kids, like they are kids, but I'm her friend because they kind of feel similar. That is one, you know, lifetime developed feeling and strong connection, different connection with my mom, and the other also, as I mentioned at the beginning, it really this whole, you know, not selected, but where you, which house you born, which condition you grow up, that build up for me early high level responsibility. I feel responsible to do everything, and I, you know, that's a little bit tiring because that's what I want to say here. You say something in our after our initial Zoom meeting. It's really very inspiring. You say something. I just took note. We can solve all the worst problem. We can. You say you don't say we cannot. You say we can. Solve all the world's problems. So, like, it wasn't possible. It's not possible, but you know, as if I could solve the problems or I could carry everything. So it's kind of you know build up my bricks in my life. Michael Hingson  10:18 One of the things that you certainly, it sounds like you learned as you were growing up, though, was was all about responsibility and and and learning to take charge, but learning about responsibility and and feeling that it was okay to be responsible for others in your family and so on. And I think a lot of people don't necessarily learn a lot of lessons about responsibility, like they should. But you were put in a position where you had to do that, which is is certainly a good thing because you clearly have have done that in your life. Bircan Unver  10:54 That's very true, and also it goes with everything. Let's say sometimes some people think maybe unnecessary action when people cut trees, even in their you know backyard or front yard, whatever trees or any type of trees or fruit trees. I really get mad and upset because it is irresponsible to nature, to their own environment, just feeling they're responsible to trees, loving the trees, loving the you know, for instance, if when I was it was two weeks ago, I was working on at my desk, a bees was you know flying around me, and I don't like you know trying to hit and chase the bees, and I just left the window open, moved the room two hours, and it's gone. So I don't want to hurt things, even though if it bites, it would hurt me, right? So to kind of find a way, being responsible, because also I have a subconscious thinking that if I try to chase a herd, if an insect, any of them, they you know they react sharp. So I'm not a threat to them. So they are not threat to me. So I kind of make a subconscious connection, communication. Michael Hingson  12:22 Well, and it's it's better to to learn to love than than not. So I I hear what you're saying. Now you didn't go to college or university, right? Or you did? Bircan Unver  12:35 Of course, I did. That's what I was just briefly brought this stair at that level. That after eight years working at at Istanbul Bank, from literally actually 17 to 24 or 23 late 23 early 24 then I started at the Fine Arts University in Istanbul, and I mainly study both as major Turkish tradition arts and also along with as a minor. We didn't have a minor, but we had we didn't have the minor degree, but we had a selected course. So I was following up several like four years in a row and also whole year around, not a quarter semester base artist troy and contemporary art. So I started writing on art and exhibit and interviewing artists while I started study at the Fine Arts University, which is top university in Fine Arts in Istanbul, Myanmar, Sinan Fine Arts University. Michael Hingson  13:44 So you learned a lot about fine arts, and Bircan Unver  13:47 yeah, Michael Hingson  13:47 and you had obviously learned about finance from the bank, which Bircan Unver  13:51 is didn't learn that Michael Hingson  13:53 much, huh? Bircan Unver  13:53 Not at all, and I didn't like it. That's why I, you know, I changed all my life line. Michael Hingson  14:00 Right, but but you enjoyed art. Bircan Unver  14:03 Yes, and because also art always for me, and it as it is today. Whatever the life problems we cannot be resolved, art is always for me a branch to hold on and to kind of feel strength, connect with the nature, with the art culture, whom I never might met, or maybe you know through art, through music, through books. So it's kind of really, I think the the best human conscious and what we leave behind is what we produce. Creative might be a little bit another discussion. What is the term defined? And now everyone using like creative for everything, but creativity is like really what stays, you know, central. And something as what is already before, and what you brought it something new, that new perspective, like cubism and faism and expressionism and all that different genres or pop arts and another one Dali's movement. So all the Dadaism, so each of them brought something what is already existed, and then you know moved to different level, and also technology and communication brought where we are today. So and music, I'm not any degree. Degree train or understand, but I love music as most people about music and arts and literature and writing is always for me. Also taking pictures. I don't trust my memory much, but this is not new, not because of my age now. But I somewhat I always like take the pictures, whether I have cell phone, the oldest, you know, digital or the manual photo photographs. So even though when I run into where where was it, where I was, who was with, who next to me? I can't remember. But why I love that? Because really, it brings, it captures your life, even you don't remember, and then reconnect. Also, I I come up with a new concept. I haven't done anything yet, but it's kind of developing in my mind, that we can, we are able to capture the past, but we cannot capture the future, because you know whether you know unexpected the one photo comes up, or an audio recording, or all those movies, musics, and documentaries and paintings throughout artistry, you can really capture the past depending on what you know your background or interest and education, but you cannot capture the future. But you can imagine, we can imagine the future. We can invest into the future. Michael Hingson  17:16 Well, and and the the reality is that that the future is based on so many things that happen in the past, and so you can learn to to use some of that information and and have a better idea of what the future might be like, and that's that's pretty fascinating too. So so, how long did you go to college Bircan Unver  17:42 in in Turkey the basic four university education is annual base, not semester base. It's a four years, and actually when I started it was five years. Then later on they the system education board changed it to like four years plus two years. So I graduated from a four years fine arts, and then I have a master's degree based in New York News School University. Michael Hingson  18:20 Ah, in New York. Bircan Unver  18:21 Yeah. Michael Hingson  18:22 Okay. So that was was that two years. Bircan Unver  18:27 Yes, but it was a little bit different again. Yeah. See, because first when I was here for the first time, 18 919, 89 to 1994, I started and I took to six credits and I love it. But I had to go back to Istanbul, so then I got the you know absence live of absence, and then but coming back three years later, I readmitted, and then I finish it. I got my graduate diploma in 1999 May 1999 Michael Hingson  19:12 Okay, so Bircan Unver  19:14 you've been dealing late. You've been Michael Hingson  19:17 dealing with school for a while, but but while all that was going on, you got interested in, and you started to to do things regarding public access television. And you started that, if I read your biography correctly, in in 1991, you started doing things with public public access TV. Tell us a little bit about that, and why did you do that? Bircan Unver  19:41 That's really the kind of key point in my life. In as for the initial one of the two reasons that I came to the U.S. as the first time, I was you know the first aim to learn English. The second also. To learn the TV production, and then my first year was in the U.S. was in L.A. and then I was looking for the schools and just I'm I I'd like to get the formal education, formal training, and then one of my friends there, whom I met there, she said my aunt is TV producer at Queens Public TV in New York, and she is looking for someone like you who really wants to get in and all that. And then I think a couple months later, I had a very brief trip to New York, and I met with her, and then I met with her at QPTV. Now she is unfortunately not with us, but she was also she was the first Turkish producer at QPTV, and I'm forever grateful in memory of her. She was the one who introduced me QPTV, so I met Victor at QPTV in 1990, and then when I went back to LA, I decided to move to New York. So as soon as I moved to New York and I registered to QPTV's both field production and studio, and at the time, there were seven, eight months waiting list. Eventually, I got it on the list, 1991, and first I got the field production certificate, and it was I think six months something, and we had a group project and solo project, and then studio and studio production. It's when the same group project after you are learning all the equipment and then shooting and everyone is crewing everyone is helping each other within the same group of the class and then also producing group project and then the individual project that it is the similar step for the field production and the studio, that also provides a certificate to enabling us to use QPTV equipment, studios taking out the equipment, inviting studios, studios. Unfortunately, after COVID 19, there has been a long dragging issue. They haven't opened the studios. This is I don't want to get in because it is beyond our concept, but because that was my initial reason also moving to New York. And then once I started producing program and airing, I really loved idea from one idea, just idea, and then put paper and develop it. Bring yes, bring the crew, especially with the manual three-inch tapes, and to present, put everything in a tape, and then submit it an ARC schedule. I really love that. So then, while I was there, and then I said, "Okay, I want to really have a master's degree on TV production. So my master's degree from New Zealand University is in media studies. So and I got my diploma May 1999 So, but New Zealand was amazing. I learned all the first my you know my life although it was 39 maybe 3839 years old when I was Photoshop and Premiere or Evid and all the first offline digital all the software program I learned at the new school and I edited my first program offline at the new circle as well, but when I got diploma, and then I had nowhere no access to continue. Also, you know, it's just I, I never been about the person. My mind and my heart wealthy, but not financial terms. And then, so QPT was always my second home because it provides me continuing the producing and provides me access, provides me equipment. It's like provides the community. That's what it is exists for, especially in support of the Article First Amendment and freedom of expression, and also QPTV format is really, really not well known, or not QPTV loaned. It is public access, pack programming, public education and government programming, non-commercial. So it's it is not much known widely, but it is really one of the best symbol of democracy. And now it's kind of a little bit diminishing because also widespreading out other web streaming platforms like this or other, so that there are so many. Discussion and issues, and also there is one petition to the New York Senate that is called Team New York that could also bring in all the web streaming to this community media access public access media. So then, Michael Hingson  25:19 oh, go ahead. Bircan Unver  25:20 No, I mean the question is so QPTV had has been the longest since 1991. I've been providing content, and as long as I am in the US, if I'm out of the country, even if I am out of the country, my previously submitted programs are rerunning in different, you know, whenever they schedule for my new programs, I determine which time slot because I have a time slot to be scheduled, and whether 28 minutes or one hour. But especially again after COVID 19, I couldn't produce anything at the studio at QPTV, but like this Zoom-based programs, and then for the late million organization, the programs I produce and then edit them, reformat them to schedule for QPTV. But it wasn't as it used to be produced at QPTV, at the studio with the crew, that's the excitement teaming up. It's really, I love it. But Zoom, this type also make more maybe manageable, but also bring more intonation speakers. You know, through online connection. If Speaker 1  26:54 you enjoy Unstoppable Mindset and would like to help us continue bringing these conversations to you each week, we've created a way for you to support the show. Your contribution helps us cover production costs and continue sharing stories, insights, and ideas that inspire people to live with purpose and possibility. If supporting the podcast feels right for you, you'll find the link in the show notes. Thank you for being part of the Unstoppable Mindset Community. Michael Hingson  27:28 So you you started in public access television and and and are still doing that essentially. But in 2000 you started Light Millennium TV. Tell us about Light Millennium Television. Bircan Unver  27:42 Thank you so much. Because Late Millennium, I still consider it's my third child because already 25th anniversary. The flyer on my back says 25th That also refers the 25th anniversary of the Light Millennium. I think a the experience and production, and also providing three platform QPTV, Queens Public TV, but actually the 1992 Communication Act and PAC programming, public government public education and government programming; those emerge with my new school education, like Fatrus, Plato, the concept of the two ways of messaging, and for the first time in my life, at the age of I think it was I was 39 I was able 3039, I was able to use. It was very new, also for the war. Internet. We had the internet at the new school as our media class, the open forum. One week media theory class. We have open discussion forum about Greek philosophy, further is communication, media theory. The other class we had the classic format. So all these together merged in my mind, and I really felt I found my medium. That medium is the internet, which me, especially someone is living in New York, who has you know 30 years first life in Turkey, Istanbul, that culture, and then I I didn't want to kind of disconnect from my root cultures, and internet provided me that connections, and also I always like to write and communicate, so so it becomes like natural medium. And then when I just graduated in May 1999 I send out by then like 40 people with my friends. Colleagues, and then I said, "Oh, I want to start a platform. This platform is going to be ours. And everyone wants to say, kind of to expand the QPTV's concept, because when I say QPTV's concept, this is the again First Amendment, and they don't control the content. They don't say anything you can do, you cannot unless it is a threat to someone's life. So it's all the content, or you are responsible as the producer. So I really love that freedom and responsibility again. And then then I was mentoring at the New York Food Moon Finance and Television, and I was kind of trying to find what I want to do, and I was already producing programs at QPTV. I never give up as as long as I could afford to produce the time and edit. Edit is always more time consuming, and then the executive director of the at the time 1999 Woman Film Man Television, she said you can form a nonprofit. I never taught it before, and I'm forever thankful to her. And then I said I don't know what to do where to start because she perhaps she saw the potential because I was producing non-commercial and publishing, trying to promote, you know, through group emails, and whatever the you know social media available at the time. Well, mostly email and group emails, and then she suggested me a volunteer lawyers of arts that she said they can help you, and I never knew and I never thought I if I never came to U.S. maybe I will never had a concept of forming a nonprofit or light minimum. So that U.S. and all combination brought me and news called Queens Public TV, First Amendment, United Nations Article of 19 Universal Declaration of Human Rights. Everything together kind of merged in my mind. Also, the projects I produce, I communicate, is contact with people, I learn from them. So then, when I contacted with them, they ask me, you know, what is my statement this type? And then I drafted all of them, and they put in medical, you know, terms and terminology, and I was lucky that we got a pro bono at the time one of the you know major U.S. law firms. I I think I can say now because they even though I think merged K Shuler, but they took our case and they formed my organization on on a pro bono basis and officially the first as a non profit organization done with the 500 1c T V together. So we officially formed 2001 July 17, and we and then right after that they filed 501c3 for us, and then we granted that in September 18, 2002. Bircan Unver  33:14 My memory is not good, but I I remember that date as of today because it was kind of imprinted in my mind, but also the beauty was that the granted granting 501 c3 was effective of the formation date, which is July 17 2001 So then, since I developed started the light minimum concept, introducing speaking people trying creating an open platform that everyone can you know contribute be part of it, so then I started in January 2000 on January 13 2000 started first monthly the like TV series at like at QP TV. That's how it came about. Michael Hingson  34:02 Yeah, you have certainly created quite a niche in in the whole light millennium and all the other things that you've done, which is pretty fascinating. How did you get connected with the United Nations? Because I know you're doing work with them. Bircan Unver  34:18 Thank you. Actually, the concept with the UN use, I don't do work for them. Michael Hingson  34:29 Right. Bircan Unver  34:29 We do work with them. Right. You're connected Michael Hingson  34:34 with them. You're not working for them. I understand that. Bircan Unver  34:36 Yeah, I just you know one word, but it's key key differences. But as as I mentioned, how the light millennium concept emerged, and also my master's degree program, media studies at the New School, and also there is another person I have to mention here, also in. Separate for her respectful and loving memory, Danielle Camille. She was my advisor for my thesis project advisor at the new school, and all that TV ideas and my thesis project. And she loved, and I got all A. And my first TV ideas project was peace, reality, or utopian dream, and it was 11 minutes or so. It was just before the first Clinton administration election, just October, I think 2002 and then I interviewed many academicians, civil society, non-profits who whose focus area on peace and war and you know against nuclear or all that and and then that actually the concept peace reality or utopian dream that took me to the United Nations I don't know now as a as an outsider, at the time it was so welcoming, and I went to photo department. They share me with photos, and I got all the books I was looking for. Of course, public library. I got all the books about the peace and peace organization. So that 12 minutes program, peace rate or utopian dream, and physically led me to step in the UN for the first time, and then producing this project, searching kind of open to me new horizon, and also my advisor was persistent. Birjan, we know you are great. You produce fundamental programs on arts, but I want you to do something else. So that actually also forced me to move beyond producing something beyond arts. And so then then peace, reality, or utopian dream concept came in, but also it wasn't far topic in my life because my son was born 20 when I was 2022 Now he is 45 His name is Borush, and mean is in Turkish peace. Peace also at the time, you know, Africa hunger, and I was hoping when I get 4050, this will be over. It's not the case, but as a vision, I always look for humanistic positive for the humanity, not you know for myself well-being. Michael Hingson  37:38 Well, you you kind of act as a bridge between UN programs and local communities. Tell me more about that because you view that you view yourself as being a bridge between UN programs and the local community. Why do you why do you view yourself as more of a bridge? Bircan Unver  38:00 That's very nice metaphor, and I think it's very true for me too. Maybe I could take it two three step backs. One is the village I was born. There is a river, and and then there was a bridge, and that bridge was kind of fundamental. Really, going to where you know people are established, living in all the agriculture and large fields, and it was kind of nostalgic to me. It's a bridge, but it's a stone, short bridge. That's the the first part. The second Istanbul. You know, my life main path when I was in Istanbul, Turkey in Istanbul, and Istanbul the Bosphor and then the Istanbul Bridge. Now the name changed, and now three bridges, and not just the bridge itself, but also Turkish geographic Turkey's geographical space place on Earth and especially on in between Europe and Asia and Black Sea and then the Mediterranean Sea and then when you go down North Africa, and then you go up like Russia and North Europe. So you see that that connection physically, geographically, and troy physical bridges. We live, we grow up with this kind of as part of our DNA and vision. When I was working on this, the first the initial need you know in the non-profit world to describe the need need was to connect with my culture, people, friends, family, the internet medium, and then village is also metaphor, and when we associated with the. I let I'm proud to say it. Let the association process. That was also my vision from that small video for the class project. And then, then I realize this is also. I think today is real fact that local communities, even Queens here, people are paying 1000s of dollars to come to New York to get visas. All that trying to get the sponsor, you know, to attend a conference, and I I didn't see much interest within the local nonprofits there, and that little bit was shocking realization for me. So I brought to my programs UN visions programs, MDGs, UN days, sustainable development goals. For instance, when it was announced at the UN for the 2023 agenda, we created dreams for humanity. So we brought people from lots of life, poets, authors, and youths to really share their ideas for humanity, for peace. Michael Hingson  41:12 Well, you-it sounds like, from all that I've read and and studied, you're you're, or at some point, you kind of have moved more into dealing with a lot of things with the environment. So I know that your program has been able to get a credit accredited as an observer observer status with the UN Environment Program. How is how has that affected what you do and all of your work going forward. Bircan Unver  41:43 Thank you. This is also another important, I think, milestone for us. The first in connection with the UN, associated with the in the formerly United Nations Department of Public Information, and then it has changed to Department of Global Communications. Officially, we've been associated since 2005, active and good standing, and we are able to be presented at the UN with six representatives, and therefore we are able also to reflect back to our committee's networks from the UN and it's two ways. I really like the concept two ways messaging, and then always environment in somewhat it involves in our programs. But let's say through water, through energy, through, for instance, when the forest fires really burns my heart. So being sensible and trying to, as much as I could, to attend the meetings, especially MDGs for the first phase of the Millennium Declaration, really, it's. I consider UN is the best school I ever had, and it's for me lifetimes to call, and I learn about so many countries I will never otherwise know them much. Some of the names you hardly hear in media and anywhere else, so it's kind of opens and to see the global spectrum. Also, one of the things I really love at the UN, whether you you are a ambassador or president or prime minister of a country that has maybe a population 1 million or 2 million or 1 billion or two 1.6 billion, the largest one, so you have the same minutes of speaking time, same voting, especially of course, I'm talking about the general assembly. So those things I follow up, and we try to incorporate time to time. And water issue always, I wanted to involve. I want to do something about, but it's just not like because I love the tourists, and I'm not, you know, scientist, so I'm not officially trained. So also, I'm not able to protect the, you know, fires in the forest. And every year it's getting worse and worse. And then I'm sensible, but you know, you can't do much about it. And eventually, although our last name is same, but we are not blood connected. Professor Oljoymer, at the time he was vice president for the UN Water at the UN, and we connected. And I was following up, and I was aware his work before we met. We connected through the UN. So then, especially during the COVID era, then when I've seen his speeches, natural-based solutions, and then his piece on smart water, so I propose him if we can do something. About water, and then he was very supportive, very kind, very modest. We had our first water program on the World Water Day in March 2001 and then it has turned out an annual program, and we kind of made the global connections and collaborations, and especially first three, four of them, Professor Olja led and guide, and also we worked together in a sense that I brought one part of the speakers and he brought other parts. So it was also great, diverse speakers and also the level of the speakers from whether civil society, academia, UN, and youth, all that. So we already presented six of them, and 2023 we were part of the UN Water Conference. We presented a program, and then last year we participated and presented a program site event in Nice on the Ocean Conference, and we kind of we also had previously on the ocean again. So plastic also become whether ocean, whether water, whether land life, like plastic, is becoming a huge in every level. Not plastic, but also chemical, all all sorts of polluters on in environment. So then we become promoting, producing, and there are really great level of academicians and experts, and they also like to share and connect their research and their findings. So it's a platform to break down together, and then when it is a video, when it is posted as both a summary along with the full presentation or speech, so it becomes a really source where you know you can find diverse voices, diverse solutions, diverse ideas, and also we align them in support of the UN days, UN conferences, SDGs, sustainable development goals like Water Days. Also, we collaborate with an organization in India, IGEN Green Institution, Green Engineers Institute of Green Engineers. So they are focusing on energy SDG seven. So we contribute them, bringing speakers. Bircan Unver  47:40 So then they join us to our program. So really, it's an organic volunteer base. So that that actually, I was so proud that we got a call, invitation to submit the application for this accredited status, and it was June 2025 after the ocean conference. I think ocean conference kind of brought them cumulatively and maybe brought their attention. And then October they asked our official documents, the bylaws and and certificate of organization, which is the regular require any formal application at the UN, and then I I submitted them in I think it was October 1525 but I haven't heard anything, and then I thought maybe you know they didn't consider, and then literally a year later, in June, last June, we got approval, and with a, it's not just accredited for a special one particular conference. It is an observer status assembly to contribute draft ideas. I mean, to contribute drafts, draft resolution to observe, to participate, and then also to be responsible to provide every four-year quadrennial report. Let's say if we fail to produce contribution at any level to this cause, then you know we may lose that observed status, but of course we'll do our best to contribute and to continue. Michael Hingson  49:27 With all of the work that you've done in all of this, I want to come back to World Water Day in a moment. But with all the work that you've done and all the the the things that you've done in public television and so on, when you host these meetings or you participate in these meetings, do they get televised? Also, are you able to bring those to to the public through public television? Bircan Unver  49:53 When it is Zoom, then I edit within my time slot within the limits of. Time slots and QPTV provides two different time slots. One is 20-eight minutes, the other one is 50-eight minutes. So then, let's say if it's two-hour session, I you know a little bit edit and then title, etc. and part one, part two, and also depending on the length of the session or 20-eight minutes. So then I schedule them through the local channels, as we spoke at QPTV. Also, I make them available through our vmail.com/lmtv channel on web on the web. Also, when we have a summary or outcomes, so we also provide those links and share through social media. Try our best to make those information available, visible, and reachable. Michael Hingson  50:51 Well, that I'm glad you do that. I'm glad that it gets to be something that is a lot more publicized than you just attending a meeting-that's important, I would think, to do when when you talk about World Water Day and so on. One of the things that that I I understand you do is you compare water security directly with cybersecurity and gender equality. Those are three different sorts of things when you include water security. Tell us more about that. Bircan Unver  51:24 This was our latest program in last March, and we had in our prior program on AI a discussion on AI a public discussion on AI policy or AI arc. So he's a professor and at the SUNY, and he's a mathematician, and he's also teaching cybersecurity. And when I was talking about when we met about the water conference upcoming, actually in this December, in the United Emirates on I think December six to eight. Even I was thinking to attend, but I wanted part a bit this time virtually instead of going there. So when we were talking about and and I really like this idea and I say as I asked exactly what you asked for, and then his really statement explanation made great sense because everything is nowadays control troy some form of electronic or AI or a combination of those systems, right? Competing systems. So if or if there is a technical issues, that's one case. But if there is a hack, especially water is the life source for everyone, whether you are billion or trillion, or you are you know ordinary people on the you know everyday life. So water is the source for everything, including producing the energy. AI. So water is the life itself. So then, when he said, if any hacking, whether you know small you know some you know people with a bad intention or some maybe big corporation because some profit purpose they want to sell more you know bottled water whatever or some international security issues you you may name this many other things. So if a computer system, if the control mechanism, if the AI system, whatever that combination in that system, is hack, then everything is a huge risk, and that's number one. How it connects with the water. Also now you know we smart how everything is electronic. Everything and then when that somewhat the life collapses there. So including water, including energy. So everything is so much you know interconnected. And then how that the gender equality came. Also, we follow Michael the UN annual-based dedication team for each UN Day or conferences. For instance, last year, water and gender equality, because water and gender required is also so inseparable concept and conditions in many parts of the world, and then also our professor Emre Tokus, he also. Make beautiful connection that if woman or when woman, if and when women are more in the security, cyber security, IT technology sectors, they are more sensitive. They are more like maybe natural in their dealings, like mother protection. So more protective, so there is less risk than where it is now. So to increase the gender equality, both not burden on the woman, you know, where it's the water scarcity that woman has to carry the burden. Girls, even five, seven years old, when developing countries, when it comes to developing countries, and then if the girls are, and also that was staggering. Stats he gave sort of shocked me today because he is a professor at SUNY. So what I mean by that, he said one of his class has only four girls out of 31. of his class has only one girl. One of his class doesn't have no girl. So even though if if girls are girls are not getting in this field, how we gonna bring the gender balance in all cross-cutting sectors of society. So that's how both from the UN perspective, the dedication team, also cybersecurity, the profile from a university that girls are not showing attention, interest studying cybersecurity. That was the fact based on his class last semester. One Michael Hingson  56:46 of the things that you have done, as I understand, is you've written several books. Bircan Unver  56:53 Yes, there are more, but hopefully I could get work on them, publish them as well. The my first book was Michael, based on my interviews with artists and my reviews on art exhibits, and also when I had questionnaire surveys like with artists, galleries, academicians, professors, students. When I before my first life prior prior the U.S. So when I went back after four years and I was really eager to get in a job for as a TV producer and somewhat that didn't work despite all my efforts even I my project load and everyone was after me, but they want to take the project, but not give me the role what I deserve for. So then I kind of close myself, and then I said I want to compile my books, my articles, my interviews. So that was how my first book came about in Turkish. To create is the most sacred. So, like the value to give the highest value for the creativity, intellectual production. That is through all those interviews, reviews, and questions. So that's that was the first book. The second book is in a way a bridge again between U.S. and Istanbul, New York and Istanbul, or maybe L.A. New York and Istanbul. Because when I came in, also I've done freelance journalism, so I wrote some you know reviews and the magazine. I used to, you know, send and appear my interviews and reviews. So and it was include not too frequent, but it was include some of major exhibits, both from LA and also from the Metropolitan Museum in MoMA in New York. Also Turkish artists here. So I met them, you know, when I was living. I started living in here. So then I a combination of those, and also that was another metaphor developed in my mind when I was Istanbul. I was feeling like the labyrinths of arts. So that's my second book title in Turkish labyrinths in arts. So like you are like this kind of narrow and small world in Istanbul art worlds and very high competition, and then nobody expanding to New York and LA expansion means bringing some, for instance, Franz Bacon, Thomas Hart Benton, and Max Ernst and Marina Magritte. Those also the last part connecting with the New York Istanbul from my art based on my art background. Michael Hingson  59:51 So, were any of the books published in English? The Bircan Unver  59:54 last 120, 23 is English, but. It is a compilation concept is written me. I directed the project, and of course I have some pieces also beside the concept. But it is a compilation by 24 contributors. It is based on the JUC Media Research Writing Awards 2021 and 2023 High School Awards Project, and also it is also engaging the youth to involve the UN programs at an early age and encourage them award them. So that also the next one is going to be on the Water Action Decatur in the same line, same concept, and also I have a book project since 2022 I couldn't still 2022 2020 actually. I dream, therefore I am. I have 80% of the book manuscript is ready, but I couldn't finalize it, and so the other one also I was hoping but couldn't to have a book for the 25th anniversary of the latentium. Unfortunately, it didn't happen. It's a little bit seemingly not going to happen this year to come up 25th anniversary of late millennium, but I had 20 anniversary of the late millennium in Turkish, and so this is completely different issue because I introduced like Millennium both in Turkish and in English, so it's like Tiffany Sister is the Turkish one, and then I formed Turkish sister in 2010, and then so on the 20th anniversary of the Turkish organization, as it is association, official association. So I compile the first part, the concept vision, very much like Millennium, because it's the system. But the second part based on the programs, activities, and challenges in Istanbul. So this book also in English will be first the the manifesto and the first all the history will be very much in English, the original one. But the second part is going to be completely, you know, selected ideas and projects and programs from the website and public programs from the last 20-five years, and it's hard hard things to do. It it's very challenging. I couldn't do it. Michael Hingson  1:02:47 It's it's a lot of work. Well, Berjan, I I want to tell you that we have now been talking for more than an hour. Time flies when you're having fun. Man, I'm going to go. I'm going to have to go ahead and and end our time, but we'll have to do this again and and continue the discussion. But I really appreciate you taking the time to be here, and I hope that people will monitor your programs and and and read your books if they can read Turkish or English, whichever works. Troy Bircan Unver  1:03:18 has so many English pieces, and now everyone welcome to look out our website. And what's the Michael Hingson  1:03:26 website again? Bircan Unver  1:03:28 lmglobal.org. Michael Hingson  1:03:32 lmglobal.org. Okay. Bircan Unver  1:03:34 Yes, but the whole archive from 2019 to 2000 no, 2019 no. of course not 2019 1999 to 2018 The archive. Our initial website is light millennium.org Millennium is with double N double N. So the everything we are talking about, all the process, our UN programs, and the reports from the UN NGO briefings, some conferences we participated. If anyone has any question, I'll be happy to provide the link and you know to contact them. Michael Hingson  1:04:17 And we will put that information in the show notes, the notes for the podcast. So I want to thank you for being here. This has been absolutely informative. I really appreciate your time, and I hope the programs continue to go well. So I want to thank you again for being here, and this has just been a lot of fun. Bircan Unver  1:04:39 Thank you so much, Michael Kingston, it is great honor and privilege. Especially, you are a hero, and your your story is amazing, and you are also taking really one of the challenges works like producing these programs, and we never met in real life. And then this is also like Millennium and your work. How we connected through? Otherwise, there was no like regular environment or database environment that we could meet. Your work and your dedication and your inspiring contribution really connected us and bring us together in this session. Thank you, and I'm really grateful for that. Michael Hingson  1:05:29 Thank you for being here with me on Unstoppable Mindset. I hope today's conversation left you with a fresh perspective, a new insight, or at least something worth thinking about. If you're ready to go deeper into the ideas that shape how we see ourselves and others, I have a free gift for you. Head over to michaelhingson.com and download my free ebook, Blinded by Fear. It explores the invisible beliefs that hold us back and shows you how to reframe them so you can move forward with clarity and confidence. Be sure to subscribe to our podcast, leave a review, and share this show with someone who can use a reminder that growth starts with mindset. When people think differently, we all move forward together. Thanks again for listening. Keep learning, keep questioning, and keep choosing to live with an unstoppable mindset

Howdy Fremde. Wir machen's mal wieder für den Plot: Was will Friedrich Merz von Matthias? Warum wird Iris von Bots gemobbt? Und was suchen Danger Dan und Ikkimel in der Anstalt und im MoMA? Lohnt sich eigentlich die Arbeit der Ameisen? Erfahrt all das und viel mehr in dieser Episode. Los geht's mit einer Ablation bei 50 Grad. Ohne politische Klimaanlage, dafür mit DIY-Fensterwächter. Schnappt euch ein paar slawische Mülltüten und haltet euch ans Botox-Verbot von Iris' Mama. Couple Of ist das Centstück in die Stirn, ein täglicher Prozess aus der Leere ins Extreme und zurück. Wir fragen uns, wer Matthias ohne gute Noten geworden wäre. Und David Hasselhoff ohne Ketchup. Also glotzt nicht so romantisch, spielt nicht mit Puppen, nur weil alle das machen, und macht euch lieber mit Geflügel am Alex vertraut. Auch um Depression geht's diesmal ein wenig. Zieht die Funktionsjacke aus und freut euch auf Iris' Lösung für Pubertät und Muttertät. Es wird ein unvergesslicher Spaziergang unter der Woche! Dieser Podcast ist unsere Rettung vor den Phonies in dieser Welt, und wir nutzen immer wieder den Publikumsjoker. Wir treten keiner Fruchtfliege auf den Rüssel, sondern klauen Bücher und freuen uns über polnische Synchronisation. Mehr als über künstliche. Die sollte gestorben haben. Du möchtest uns eine Sprachnachricht für den Podcast schicken? Folge uns auf Instagram und nutze dort den Chat: https://www.instagram.com/coupleof_podcast/ Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos und Rabatte: https://linktr.ee/CoupleOf Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Episode 184: Miriam Katz & Big Magic: Creative Living Beyond Fear by Elizabeth Gilbert ABOUT MIRIAMMiriam Katz is Los Angeles-based public speaking coach, podcaster, and performer. She studied comparative literature at Columbia University, worked at Artforum magazine for many many years, followed by stints curating comedy shows and panels for Moma in New York and Silencio in Paris. She trained in improv at The Groundlings and UCB, and also studied acting, clown, and voice over in many other theaters and schools. You may have heard her in video games or seen her in films, tv shows, and Chili's commercials (plural). She is the host of the “Ex Appeal” podcast for which she interviews every person she's ever been romantic with on any level. The show was recently a “hot topic” on The View. That's right, Whoopi Goldberg knows her name.CONVERSATION HIGHLIGHTS• Miriam's unconventional podcast, X Appeal, and her honest conversations with ex-partners reveal our shared human experiences• The importance of curiosity over fear in creative pursuits and personal development• How her diverse background in arts and academia informs her approach to coaching and life• The influence of spirituality and intuition on her creative processInsights from Elizabeth Gilbert's Big Magic and its encouragement to see art and inspiration as playful, divine collaborations• Practical tips on embracing silence, pauses, and authenticity in communication and art• The significance of setting boundaries and focusing energy on what truly fuels your passion• The role of continuous learning and experimentation in evolving as a creative individualThe MAIN QUESTION for you that comes out of my conversation with Miriam is, How curious, playful, and open are you when it comes to your creative endeavors and general goals in lifeFIND MIRIAM• Website: https://www.miriamkatz.com/• LinkedIn: www.linkedin.com/in/miriam-katz-b53ba828b• Twitter: https://x.com/miriamdkatz• Facebook: https://www.facebook.com/miriam.katz.7LinkedIn - Full Podcast Article: CHAPTERS00:00 - The Book Leads Podcast - Miriam Katz01:05 - Introduction & Bio06:33 - Who are you today? Can you provide more information about your work?13:50 - How did your path into your career look like, and what did it look like up until now?52:15 - How does the work you're doing today reconcile to who you were as a child?55:43 - What do you consider your superpower?56:11 - What does leadership mean to you?01:04:32 - Can you introduce us to the book we're discussing?01:08:20 - Can you provide a general overview of the book?01:18:21 - What's changed in you in the process of writing this book?01:23:20 - What are you up to these days? (A way for guests to share and market their projects and work.)This series has become my Masterclass In Humanity. I'd love for you to join me and see what you take away from these conversations.Learn more about The Book Leads and listen to past episodes:Watch on YouTubeListen on SpotifyListen on Apple PodcastsRead About The Book Leads – Blog PostFor more great content, check out the catalog for my newsletter Last Week's Leadership Lessons, if you haven't already!

Artist Jay Slyce talks about erasure in painting as it relates to history, spiraling one's practice toward possibility, exposing real-time decision making through the work, and more.Jay Slyce (b. 2001, Hackney, London) is a British-American artist based in London. He completed his MA at the Royal College of Art in 2024, and his BA at Leeds Arts University in 2023. He works across media engaging both with image and object. This might manifest in a painting, a video, or three-dimensional work. Slyce's work is held in the collection of the Josef and Anni Albers foundation as well as private collections across the UK and US.Jay's Instagram: @jayslyceJay's website: jayslyce.comReference links:Joel Wyllie, Aerial the Projectionist (solo exhibition, 2025)Europa Logistics (logo)Selena Corsellis, Close But Not Quite (text from solo exhibition, 2026)Jay Slyce, The Hospital (2026)Hackney People's Press (active 1973-85)Jay Slyce, Well (2026)Jay Slyce, We Write of Eternal Things (2026)Jay Slyce, Wall (2026)Sedrick ChisomSean ScullyRobert Smithson, A Tour of the Monuments of Passaic, New Jersey (1967)Antoine de Saint-Exupéry, The Little Prince (1943)Paul Klee, Pedagogical Sketchbook (1953)Walter Benjamin, Theses on the Philosophy of History (1940)Marcel Duchamp (retrospective at MoMA, 2026)Jay Slyce, The Unfinished Project of Modernity: Social Housing and Civic Ground at Hoxton, (short film for Lynch Architects, 2026)Maurice Merleau-Ponty, Cézanne's Doubt (1945)Patrick Leigh Fermor, A Time to Keep Silence (1953)Francis Alÿs, Ricochetes (exhibition, 2024)Francis Alys : Le temps du sommeil (1995-present)Gerhard Richter (exhibition at Fondation Louis Vuitton, 2026)Francis Alÿs, Children's Game #19: Haram Football (2017)Rónán Hession, Leonard and Hungry Paul (2019)Jay Slyce, The Shame of Compiegne is erased (2026)Entartete Kunst (Nazi "Degenerate Art" exhibition, 1937)The Presidents Heads (attraction, current location from 2013)David E. Scherman, Lee Miller in Hitler's Bathtub (1945)Episode cover art: Jay Slyce, The Hospital, oil on canvas, 70x50 cm, 2026Support People Painting

Im Podcast Feuilleton besprechen Marcus S. Kleiner und Marc T. Süß diese Woche die Themen: Erdoğan verschenkt beim NATO-Gipfel Revolver, Ikkimel beim Moma, Ingeborg Bachmann Dokumentation, Kultur auf Rezept. Gaststimme von Autor Frank Berzbach. Mehr auf www.fugengold.de Timecodes: Erdoğan verschenkt beim NATO-Gipfel Revolver: Ikkimel beim Moma: Ingeborg Bachmann Dokumentation: Kultur auf Rezept:

In de zomer brengt De 5 je inspirerende reisverhalen van De Tijd-journalisten. Deze aflevering neemt hoofdredacteur van Sabato An Bogaerts je mee op roadtrip door de Verenigde Staten. De reis gaat van het Witte Huis langs het Fallingwater House van Frank Lloyd Wright naar een rodeo in Cincinnati, inclusief cowboyhoed. Je krijgt een boeiend reisverhaal over TikTok-lijstjes, een rustig bezoek aan het MoMa en een glimp van president Trump. Host: Erwin Deckers Gasten: An Bogaerts, Marie Van Oost, Henk Dheedene en Peter De Groote Chef Weekend: Sofie Vanlommel Productie: Ella Van Eynde en Karel DierickxSee omnystudio.com/listener for privacy information.

Episode No. 766 of The Modern Art Notes Podcast features curators Matthew Affron, Michelle Kuo, and Ann Temkin, and artist Nic Nicosia. The Museum of Modern Art, New York is presenting "Marcel Duchamp" through August 22. The exhibition, the first Duchamp retrospective in the United States since 1973, features over 300 works from across Duchamp's career. The show was curated by Affron, Kuo, and Temkin, with assistance from with Alexandra "Lo" Drexelius, Helena Klevorn, Danielle Cooke, and Julia Vázquez. MoMA has published a catalogue for the show; Amazon offers it for $63. The Nasher Sculpture Center, Dallas is showing "Nic Nicosia: Everyday Surreal" through August 16. The exhibition surveys the last 25 years of Nicosia's career (the period since a 1999-2000 mid-career retrospective) a time during which he has particularly focused on sculpture, films, and drawing. The exhibition was curated by Jed Morse. The Nasher has published a valuable catalogue of the exhibition. It is available from the museum.  Air date: July 9, 2026.

Cuban performance and conceptual artist Tania Bruguera talks to John Wilson about her career and cultural influences. Her work explores freedom of speech, political oppression and social justice, often encouraging her audiences to become active participants in her performances, blurring the boundaries between art and viewer. Bruguera has exhibited at international museums including MOMA and the Guggenheim in New York, and at Tate Modern, where she made a major work for annual Turbine Hall commission. A new artwork of hers was in the inaugural exhibition at V&A East. Throughout her career in her homeland, Tania Bruguera has been repeatedly censored, arrested and detained by the Cuban authorities because of her political activism. She now lives in the US where she is senior lecturer at Harvard University. Producer: Edwina Pitman

We're taking the summer off and rebroadcasting some of our favorite episodes in the archives over the next few months. Today we're rebroadcasting our 2018 episode with Mindy Sue, who has a new book, A Sexual History of the Internet, out now.. We'll be back with new episodes in September. — Mindy Seu is a designer, educator, and researcher. When she was on the show, she was student at the Harvard Graduate School of Design and was previously a designer at 2x4 and MoMA. She's designed and produced archival sites for Ralph Ginzburg and Herb Lubalin's Eros and Avant Garde magazines. In this episode, Mindy and I talk about her early career and why she decided to go to graduate school, the role of research and archives in her work, and how graphic design is just one pillar of her practice. Links from this episode can be found at: https://scratchingthesurface.fm/post/176253243375/85-mindy-seu — We're continuing to publish new content on our Substack. Paid subscribers get bonus interviews every month. Sign up and support the show here: surfacepodcast.substack.com

The kernel taketh away, so we bringeth back. We build an AppleTalk LAN, ditch TCP/IP, and give a legendary retro network protocol the send-off it deserves.Sponsored By:Jupiter Party Annual Membership: Put your support on automatic with our annual plan, and get one month of membership for free!Managed Nebula: Meet Managed Nebula from Defined Networking. A decentralized VPN built on the open-source Nebula platform that we love.Support LINUX UnpluggedLinks:AppleTalk 1985-2026 Memorial StickerJupiter Garage SWAGSorry, I only open regular files StickerWeb Boost — Send us a boost via sats or USD

In 2010, a performance artist named Marina Abramović sat silently across from strangers at the MOMA for three months — no words, no advice, no fixing — just sitting with people. And people wept. In a world of distraction and noise, we are starving for genuine presence. And not only that, somehow, simple presence is *healing* to us. And in this talk, we examine a rather obscure moment In the Old Testament in which a man named Ezekiel has a profound experience that reveals that God has been pursuing that same connection with humanity all along. SPEAKERS: Mark Averill (Saratoga), Archie Jackson (South Hills), Andrew Min (RWC) Bible Passage(s): Genesis 22

Design-Trends aus Darmstadt erobern die Welt, ein Darmstädter erhält als erster Deutscher den Gitarren-Oscar und Hundeparcours beim Heinerfest: Teamarbeit im Agility-Cup. Das und mehr heute im Podcast. Alle Hintergründe zu den Nachrichten des Tages finden Sie hier: Design-Trends aus Darmstadt erobern die Welt https://www.echo-online.de/lokales/darmstadt/design-trends-aus-darmstadt-erobern-die-welt-5821944 Darmstädter erhält als erster Deutscher den Gitarren-Oscar https://www.echo-online.de/lokales/darmstadt/darmstaedter-erhaelt-als-erster-deutscher-den-gitarren-oscar-5843384 Hundeparcours beim Heinerfest: Teamarbeit im Agility-Cup https://www.echo-online.de/lokales/darmstadt/hundeparcours-beim-heinerfest-teamarbeit-im-agility-cup-5834383 Darmstadt: Kirche und Co. sammelt Ranzen für Schulkinder https://www.echo-online.de/lokales/darmstadt/draft-kirche-co-sammelt-schulranzen-fuer-beduerftige-kinder-5835028 Volt zur E-Mail-Panne: „Ein Gemeinschaftsprojekt mit dem OB“ https://www.echo-online.de/lokales/darmstadt/volt-zur-e-mail-panne-ein-gemeinschaftsprojekt-mit-dem-ob-5844945 Mit Dr. Archibald auf VR-Zeitreise auf Darmstadts Heinerfest https://www.echo-online.de/lokales/suedhessen/mit-dr-archibald-auf-vr-zeitreise-auf-darmstadts-heinerfest-5832476 Ein Angebot der VRM.

El fotógrafo Nicanor García comparte en El Placer de Viajar sus trucos para hacer fotos en los viajes y para tener éxito en Instagram. En este nuevo episodio de El Placer de Viajar , el podcast de viajer de Libertad Digital y esRadio, nuestros anfitriones presentadores Carmelo Jordá y Kelu Robles se sumergen en el apasionante mundo de la fotografía de viajes. Para empezar, se recuerdando la importancia histórica de la primera cámara Kodak, patentada por George Eastman, un hito que democratizó la captura de momentos especiales hasta tal punto que hoy en día la fotografía es una parte fundamental de cualquier viaje, influyendo incluso en la elección de los destinos turísticos por parte de los viajeros. Además, la primera parte del espacio cuenta con la participación de Eva Sanchidrián, representante de Mundomar Cruceros, quien analiza el notable incremento en la demanda de cruceros premium por el Caribe. Este tipo de viaje permite a los turistas explorar la inmensa diversidad de la región —que abarca desde las Antillas hasta las islas Vírgenes— sin la incomodidad de deshacer las maletas continuamente. Además, las navieras de lujo ofrecen servicios personalizados y una gastronomía de primer nivel a precios muy competitivos, desmontando el mito de que el Caribe es únicamente un destino para la época invernal. Y por último, recuerda que en esta página web y en el teléfono 911 975 520 los oyentes de El Placer de Viajar y esRadio pueden reservar su crucero con descuento. El invitado estrella de este episodio es Nicanor García, un reconocido fotógrafo, arquitecto y creador de contenido con más de 750.000 seguidores en Instagram. García explica cómo su andadura en la fotografía comenzó de manera fortuita y se consolidó durante la crisis de la construcción de 2008, cuando empezó a documentar sus propios proyectos arquitectónicos. Su formación académica como arquitecto le proporcionó una mirada única y muy visual sobre el espacio, permitiéndole plasmar la relación entre los edificios y su entorno a través del objetivo. Al abordar el eterno debate sobre el equipo fotográfico, el experto aconseja a los principiantes empezar a practicar con los dispositivos que ya poseen, destacando la excelente resolución de los teléfonos móviles actuales. Para García, la clave de una buena fotografía reside en la mirada de quien la toma y en el dominio de la composición, más que en la sofisticación de la máquina. No obstante, Carmelo Jordá matiza que, aunque los móviles son herramientas muy útiles, la experiencia y el proceso de aprendizaje que brinda una cámara tradicional resultan mucho más divertidos y enriquecedores. Respecto a la técnica y el uso del modo manual, García sugiere comenzar en automático para concentrarse plenamente en la composición y la búsqueda de la luz antes de adentrarse en los ajustes complejos. Asimismo, comparte valiosos consejos compositivos, como la importancia de no cortar los elementos esenciales y de evitar situar siempre el horizonte o el sujeto principal en el centro geométrico de la imagen. Introducir elementos en el primer término para dotar de profundidad y tridimensionalidad a la fotografía es otro de los trucos recomendados para capturar la esencia de un lugar de forma más dinámica. La postproducción y edición digital también son tratadas en la conversación. García y Jordá coinciden en que la edición debe ser una herramienta sutil que realce la realidad sin llegar a desvirtuarla, buscando siempre la naturalidad en la imagen final. En el contexto de los viajes, se debate sobre la conveniencia de investigar previamente los destinos; mientras que García prefiere documentarse para no perderse localizaciones de gran valor, Jordá aboga por dejarse sorprender. Finalmente, llegan los consejos referentes a todo relativo a después del viaje, ideas para manejar la cuenta de Instagram y consejos como realizar copias de seguridad de todo el material gráfico acumulado para evitar pérdidas irreparables. En la sección dedicada a los hoteles, Kelu Robles describe con entusiasmo su experiencia en el hotel Palacio de Santa Paula en Granada. Este establecimiento de cinco estrellas, perteneciente al grupo Marriott, destaca por estar ubicado en un antiguo convento del siglo XVI que conserva un espectacular claustro rehabilitado. El hotel también alberga una casa morisca del siglo XII, ofreciendo a los huéspedes una inmersión única en la historia de la ciudad de la Alhambra mediante una decoración rústica muy cuidada y un servicio de máxima calidad. La gastronomía de este hotel granadino merece una mención especial gracias a su restaurante El Claustro, liderado por el chef Luismi Luque. Robles destaca el desayuno del hotel por su excepcional surtido de productos andaluces de alta calidad, como el aceite de oliva virgen extra y el jamón ibérico de bellota. Además, el restaurante ofrece una sofisticada propuesta de almuerzo y cena que rinde homenaje a la gastronomía tradicional granadina mediante técnicas culinarias modernas, consolidando la tendencia de que los grandes hoteles pueden albergar restaurantes de primerísimo nivel. Finalmente, Santi Molina cierra el programa con sus habituales noticias del sector turístico, destacando la nueva conexión directa de United Airlines entre Bilbao y Nueva York, disponible durante la temporada estival. También menciona la apertura en Sevilla del hotel Sevilla, que se une a la prestigiosa marca Preferred Hotels & Resorts. En el ámbito cultural, Molina recomienda la exposición sobre Zurbarán en la National Gallery de Londres y la gran retrospectiva dedicada a Marcel Duchamp en el MoMA de Nueva York, citas indispensables para los amantes del arte que viajen este verano. Escríbenos, explícanos qué te gusta más y si hay algo que no te gusta tanto de El Placer de Viajar, dinos de qué destinos quieres que hablemos y si quieres que tratemos algún tema y, por supuesto, pregúntanos lo que quieras en el correo del programa: elplacerdeviajar@libertaddigital.com.

Filip Vukosavljević košarkom je počeo da se bavi tek sa 17 godina. Krenuo je iz Beton lige, stigao do Prve lige i kroz košarku proputovao pola sveta.Igrao je na Maldivima i Šri Lanki, prošao kroz iskustva kakva retko koji košarkaš doživi i živeo život potpuno drugačiji od uobičajenog sportskog puta.Jedna neverovatna životna i sportska priča, puna uspona, izazova i neobičnih destinacija.

Most indie authors know print-on-demand. Pop-up and movable books inhabit a very different world — one of hand-assembly, specialist printers, and minimum print runs that make the economics unlike anything in standard publishing. In this episode, Anna Featherstone talks with Kelli Anderson, paper engineer and author of Alphabet in Motion, about what it actually takes to bring a movable book to life. They cover the manufacturing process, working with printers, using Kickstarter to fund a 25,000-copy print run, and where a curious author might begin if this form is calling to them. Find more author advice, tips, and tools at our Self-Publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. Sponsor This podcast is proudly sponsored by Gatekeeper Press — your partner in premium independent publishing. Empowering authors with expert guidance, 100% rights, 100% royalties, and global distribution. From editing to marketing, their all-inclusive services help you publish professionally and confidently. Gatekeeper Press — Where Authors Are Family. Show Notes Movable Book Society Alphabet in Motion Kickstarter About the Host Anna Featherstone is ALLi's nonfiction adviser and an author advocate and mentor. A judge of The Australian Business Book Awards and Australian Society of Travel Writers awards, she's also the founder of Bold Authors and presents author marketing and self-publishing workshops for organizations, including Byron Writers Festival. Anna has authored books including how-to books and memoirs, and her book Look-It's Your Book! about writing, publishing, marketing, and leveraging nonfiction is on the Australian Society of Authors recommended reading list. When she's not being bookish, Anna's into bees, beings, and the big issues of our time. About the Guest Kelli Anderson uses handheld revelations to reconnect people with the depth and possibility of their world. Her books force readers to touch grass paper. She created This Book is a Camera (MoMA)—which transforms into a working camera—and This Book is a Planetarium (Chronicle)—which houses paper devices (including a planetarium) and has sold more than 100,000 copies. Alphabet in Motion, an interactive book about typography and technology, was published to wide acclaim in the Fall of 2025. The Washington Post book editor writes that "the work of literature that delighted me most this year is this pop-up book." Other projects include a viral paper record player and—with The Yes Men—a utopian counterfeited New York Times, which won the Ars Electronica Prix. Doctors without Borders have used the award-winning Tinybop Human Body app she illustrated to communicate illness and treatment nonverbally to their patients in remote areas. Clients include NPR, The New Yorker, The Guggenheim, MoMA, Apple, and the New York Times. She has been nominated for the Cooper-Hewitt Smithsonian National Design Award twice and teaches at NYU, SVA, and Cooper Union. You can find Kelli on her website and on Instagram.

On this Bonus episode of Black and Snerdy, Ode (⁠@thatsod.e⁠ / ⁠@thatsod_e⁠) and Mo "Kid" Licorish (⁠@licorishislegit⁠) open in full victory mode as they recap the Knicks winning the NBA Finals and what it felt like watching the city go feral in real time. They talk packed Brooklyn bars, the post-game chaos in the streets, and how “Empire State of Mind” by Jay-Z and Alicia Keys becomes the unofficial soundtrack once the final buzzer hits. The memory lane detour includes Modell's nostalgia, a World Cup side-note, and the moment the vibe shifted when Donald Trump showed up with heavy security.From there, the birthday recap turns into a full June highlight reel: MoMA on a free Friday, a Marsha P. Johnson tribute and Pride love, and then the weekend run through brunch spots and restaurants in Bed-Stuy. Pop culture comes back around through a Beyoncé Grammys comparison, plus a Donald Glover-inspired Wu-Tang Clan name generator story that produces a hilariously mismatched rap name and a gift to match.

States of Discovery is officially back, and Marisa and Sara are wasting no time catching up. After a behind-the-scenes hiatus, they're diving straight into what they've been up to, from a music festival in Salt Lake City to solo adventures in New York and LA. This episode covers the OIYS articles that have been turning heads lately, some genuinely great travel tips, and a big announcement about where the two are headed together at the end of June.Life Updates & Recent Travel:Sara is deeply invested in the 50 Best Sandwich Shops series (and yes, she knows how that sounds)Marisa shares why she can't stop thinking about Diablo Lake in Washington's North Cascades and the wild reason its water is that shade of turquoiseFrom a hidden omakase spot in New York to a J-pop festival in LA, Sara's solo trip itinerary will make you want to book a flight immediatelyMarisa makes a strong case for Salt Lake City, including an Evo Hotel with an indoor rock climbing gym, a dry sauna she didn't know about until check-in, and a laundromat connected to a pizza shopTimestamps:00:12 - Welcome back! The hiatus is over and summer travel is on01:47 - Sara's love letter to the 50 Best Sandwich Shops series (Delhi, Ohio represent)05:06 - Marisa's Caribbean water obsession and why Diablo Lake stopped her cold09:02 - Kilby Block Party, lime scooters, and the thrift-to-laundromat pipeline in Salt Lake City17:22 - Sara's solo New York and LA trip: hidden izakaya, MoMA's fallout shelter exhibit, and a J-pop festival28:08 - The big announcement: Marisa and Sara are heading to Fayetteville Pride, one of the biggest Pride festivals in the Southeast35:14 - "Tree trunk travel": how anchoring a trip around one event leads to the best discoveriesEpisode Summary:Marisa and Sara are back on the mic and picking up exactly where they left off. The episode moves fast, from gushing over reader-nominated sandwich shops to trading notes on recent solo travels that each turned into something way more interesting than the original plan. Marisa's Salt Lake City trip is a great reminder that staying at the right hotel, being willing to do laundry in a new city, and just wandering with a color challenge can be its own kind of adventure. Sara's New York visit hit differently once a Marcel Duchamp exhibit led her straight into a fake Cold War fallout shelter. The episode closes on a genuinely exciting note: both hosts are heading to Fayetteville, Arkansas for a three-day Pride celebration, and they want listeners along for the ride.Stay tuned for the Fayetteville Pride episode dropping in early July. Have a Pride festival recommendation or a sandwich shop worth a road trip? Leave us a message at 805-298-1420 or email podcast@onlyinyourstate.com. If you're listening on Spotify, drop a comment. Subscribe, rate, and review States of Discovery so more people find us.

For a hundred years, parents attempting to undertake creative endeavours have had a ready-made excuse, courtesy of Cyril Connolly: “The enemy of art is the pram in the hall.”Kids, the thinking goes, are where creativity goes to die. But Austin Kleon thinks Connolly got it exactly backwards.This month on the podcast, I sat down with Austin—author of the New York Times bestselling trilogy Steal Like an Artist, Show Your Work and Keep Going—to talk about his new book, Don't Call It Art: 10 Ways to Create Like a Kid Again. This book is a love letter to his two sons, and a collection of everything they taught him about creativity.Austin spent his career helping people tap into their creative potential, Then his kids arrived, and he realised he wasn't the teacher anymore. He was, in his words, “the apprentice to the beginners,” the studio assistant in his own home, saving the drawings, keeping the paper trail, and watching two small artists figure out how to “let it rip.”We talk about why children aren't an obstacle to your creative life but an opportunity for it to grow, the gentle art of benevolent neglect, and how watching your kids create might be the best way to quiet your own inner critic—and re-parent the artist you used to be.Subscribe to the Podcast* Spotify* Apple Podcasts* YouTube* Pocket CastsWhere to Find Austin Kleon* Buy Don't Call it Art* Read his blog, especially the parenting tag* Subscribe to his newsletter* Follow him on InstagramEpisode ReferencesBooks & Essays* The Element: How Finding Your Passion Changes Everything by Sir Ken Robinson* The Idle Parent Manifesto by Tom Hodgkinson* Bringing Up Bebe by Pamela Druckerman* Several Short Sentences About Writing by Verlyn Klinkenborg* 100 Essays I Don't Have Time To Write by Sarah Ruhl* The Argonauts by Maggie Nelson* Hold Still: A Memoir with Photographs by Sally Mann* Playing With My Son by Andy Baio* Heidi's Horse by Sylvia Fein* American Elf by James KochalkaFeatured Artists, Musicians & Innovators* John Baldessari – The legendary conceptual artist whose revolutionary “Post-Studio Art” teaching style shaped a generation of creators.* Creative Growth: Childhood to Maturity at MoMA – The historic 1939 solo exhibition tracking artist Dahlov Ipcar's development from a young child to an adult.* Lynda Barry – The MacArthur-winning cartoonist, author of What It Is, and professor of interdisciplinary creativity.* Ruth Asawa – The brilliant San Francisco wire sculptor who believed art education should be accessible to all children.* Eleanor Coppola – The visionary documentary filmmaker who beautifully balanced her own creative life alongside an iconic filmmaking family.* Brian Eno – The experimental ambient music pioneer whose philosophy centers on answering the ultimate creative question: “What is it that I actually like?”* Michel de Montaigne – The Renaissance essayist whose father instituted a spartan pedagogical plan, including raises with peasants and learning Latin as a first language.Misc* Cyril Connolly's “Pram in the Hall”* Jeff Tweedy on Making Art without ControlTimestamps03:10 — Pre-publication anxiety and “the gulp”: Austin's advice for a first-time author05:03 — Why a second book is like a second child06:04 — Austin's family: Megan, two boys, and a houseful of weirdos in Austin, Texas07:12 — A love letter to his kids: bottling the energy of two “cavemen Picassos”09:55 — Growing up in rural Ohio: pigs, county fairs, and a broad definition of creative work12:10 — Ken Robinson's “I'm drawing a picture of God” story13:29 — Puberty and the arrival of the inner critic14:31 — Milton Glaser's perfect combination: a mother who says “you can do anything,” a father who says “prove it”16:11 — Parenting tension as a guitar string: freedom, constraint, and Bringing Up Bébé18:50 — The story of how Owen held his pen—and the magic line that disappeared22:31 — Benevolent neglect: D.H. Lawrence, The Idle Parent, and butting out25:25 — “I was the apprentice to the beginners”: becoming the studio assistant in his own home25:59 — Where Don't Call It Art comes from: John Baldessari and why the title disarms the critics27:40 — Capture mode: diaries, one-liners, and drawing comics of your kids30:57 — Save the drawings: Heidi's Horse, Dahlov Ipcar at MoMA, and keeping a paper trail39:03 — What Owen's music taught Austin: Brian Eno and “what do I actually like?”41:41 — Unrepeatable experiments: Montaigne's Latin, Kraftwerk over The Beatles, and Andy Baio's video game history44:37 — Scarcity vs. abundance fatherhood: Kevin learns piano alongside his daughter45:58 — The pram in the hall is wrong: what mother-artist memoirs taught Austin about integration52:09 — “Go to therapy before you have kids”: what children reflect back at you, and re-parenting yourself with Fiona AppleCreditsHost: Kevin MaguireManaging Producer: Elizabeth Van BrocklinSound Editor: Sam WilliamsTheme Music: SOHN Get full access to The New Fatherhood at www.thenewfatherhood.org/subscribe

Hero Hero a bonusový diel: https://herohero.co/momahornakovaJe éra influencerov na konci?Na svete je viac ako 50 miliónov tvorcov a takmer každý sa dnes snaží optimalizovať svoj život pre algoritmus. Výsledkom sú rovnaké videá a strata vlastnej identity.V tomto dieli rozoberám, prečo influencerský priemysel naráža na svoje hranice. Prečo OG tvorcovia vyhárajú, prečo nás dokonalé estetické profily prestávajú baviť a prečo budúcnosť patrí skôr „obyčajnosti“ a niche profilom namiesto nablýskaného luxusu.Moma: https://www.instagram.com/martinahornakova/GGW instagram: https://www.instagram.com/girlsgonewild_ggw/Timeline:[00:00] – Úvod[02:15] – Dnes je na svete okolo 50 miliónov influencerov/tvorcov. Porovnávanie s minulosťou. Dnes sú z influencerov globálne značky a brandy a nie len kamaráti z detských izieb ako kedysi.[04:44] – Osobnostná kríza influencerov, vyhorenie a naháňanie virality.[07:29] – Psychológia diváka a prispôsobovanie sa trendom. Rovnako aj konzumenti obsahu z evolučnej potreby niekam patriť nevedome nasávajú estetiku a trendy z internetu, čím tiež strácajú vlastnú osobnosť.[09:10] – Prečo influencerská bublina praská.[11:23] – Influencerka, ktorá si dnes na TikToku sťažuje na algoritmus namiesto toho, aby si priznala, že ľudí už jej starý typ obsahu (kabelky, kozmetika, hauly) nezaujíma. Diváci, ktorí s ňou vyrastali, majú dnes rodiny a reálne účty na platenie.[13:53] – Daň za slobodu a rozhodnutie chrániť si súkromie. Úspešní tvorcovia často každú dovolenku či životné rozhodnutie podriaďujú tomu, či to bude mať dosah na sieťach.[18:00] – Čo funguje na sieťach dnes? Skutočné príbehy reálnych ľudí.[21:03] – Záver: Odchod do offline sveta a dôležitosť reality.[23:37] – Výhľad do budúcna.Easter egg (25% zľava / 5,25 EUR) https://herohero.co/momahornakova/invites/UDRRQFOMAP

Australian-born artist, filmmaker and speculative architect Liam Young discusses his work and cultural influences with John Wilson. Young creates imaginary future worlds through films and art installations to provoke discussion about present-day social and environmental issues – including climate change, energy, migration, and technology. His films, including Planet City and The Great Endeavour, have been shown at the Venice Biennale and museums including MOMA and the Smithsonian and the Barbican Centre in London has staged a major exhibition of his work called In Other Worlds. He holds guest professorships at universities including Princeton, MiT and Cambridge. In the commercial sector, Liam Young works as a consultant to major brands and the film industry on designing visions of the future.Producer: Edwina Pitman

Before getting into today’s episode, I want to acknowledge the passing of Jeff Schewe. Jeff’s contributions to the photographic community were immense, and his passion for the craft touched countless photographers worldwide. I learned so much about printing and processing from Jeff. He will be deeply missed, and my thoughts are with his family, friends, and everyone whose life he influenced through his teaching and work.On a happier note, congratulations to Makeda Best, who recently stepped into a wonderful new role as the photo curator at the MOMA. I can’t wait to see the programming, exhibitions and content that the photo department puts out under Makeda’s watch. She has a great background and has curated several really interesting projects and exhibitions in the past. As for today’s podcast topic, we are exploring a simple idea: the photographs we almost make are, in some ways, one of our greatest barriers to our true work. Most photographers think their biggest mistakes happen after pressing the shutter, things like exposure errors, missed focus, or weak composition. But the greatest loss is the image we never make at all. We see something interesting, pause for a moment, and then let hesitation talk us out of taking the photograph.My biggest issue is that I sometimes expect something better down the road. For Others, we’re uncertain whether the scene is worth photographing. Sometimes we’re distracted. Whatever the reason, the moment passes, and the photograph exists only in memory.This week, I’ll explore why hesitation may cost us more images than technical mistakes and how learning to trust our curiosity can lead to richer photographic experiences. After all, some of our favorite photographs are often the ones we almost walked past.Thanks for listening, and as always, keep seeing the world through your images as gifts that keep giving. 

Send us Fan MailRuth Lewis, founder of Moma Breastfeeding, joined our morning panel at the Derby Women's Festival on Saturday 9 May 2026 - an event organised by the Women's Rights Network Derby and Staffordshire groupRuth was here to talk about “Breastfeeding support and the mother-baby dyad” .  MoMa is a mother-led, not-for-profit organisation, dedicated to providing mother-to-mother support for breastfeeding. The event gave Ruth the chance to debate and network with the audience and other speakers  - Sorcha Nic Lochlainn from The Countess, Lexi Ellingsworth from Stop Surrogacy Now, Jennifer Gourley from Protect and Teach, Stephanie Davies-Arai from Transgender Trend and Kathleen Richardson Author of Sex Robots - The end of love, Professor of Ethics and Culture of Robots and AI at Leicester's De Montfort University, Find Ruth on X @MoMaBfing and for more information take a look at the website  https://momab.org.uk/ #DerbyWomensFestivalIf you enjoyed listening to this podcast and would like to hear more, go to womensrights.network/wrn-podcast to listen, download and subscribe to more of our episodes.  And if you'd like to join our conversations, go to womensrights.network/join-wrn

This episode explores Apollo, the Muses, Memory, and Helichrysum—where mythology, culture, and aromatherapy meet.As the season turns from Artemis to Apollo, I look at what happens when the young yang aspects of the psyche mature into clarity, direction, and mastery — and what collapses when that masculine principle forgets its lineage. We explore the Muses as channels of collective memory, Mnemosyne as the river that keeps hubris in check, and Apollo Musagetes as the conductor who can only function when he's in right relationship with them.I talk about the Duchamp exhibit at MoMA and the cultural drift into “look culture,” drawing on Sophie Gilbert's Girl on Girl and the long shadow of the AIDS crisis — how desire moved into the visual realm and left us with a disembodied gaze. We trace how this shift severed Apollo from the Muses, leaving us with spectacle instead of depth, performance instead of relationship.And then we return to the body — to aromatherapy as an embodied antidote. To the intelligence of aromatic molecules and their direct line to memory, emotion, and meaning. This leads us to Helichrysum — Immortelle — a plant of memory and deep healing. A plant that cools swollen yang, steadies drifting yin, and reminds us that creation is never ours alone.If you're drawn to myth, memory, culture, and the living intelligence of aromatic plants, this episode will meet you where you are.Access the companion article here.

Le sujet :Après l'explosion des NFTs en 2021, beaucoup ont enterré le secteur aussi vite qu'il était apparu. Collections spéculatives, célébrités, fortunes perdues… le mot “NFT” est presque devenu tabou.Pourtant, derrière le crash, certaines œuvres continuent de se vendre, des musées exposent désormais de l'art numérique, et de nouveaux usages émergent dans le jeu vidéo, la billetterie ou les objets de collection.Alors : les NFTs sont-ils vraiment morts ?L'invité du jour :John Karp est entrepreneur, collectionneur et fondateur de NFT Morning ainsi que du salon Non Fungible Conference à Lisbonne.Au micro de Matthieu Stefani, il revient sur l'effondrement du marché NFT, les erreurs de la bulle spéculative et les usages qui, selon lui, pourraient survivre sur le long terme.Découvrez :Pourquoi les NFTs se sont effondrés aussi brutalement après 2021Ce qui distingue aujourd'hui les projets “historiques” des collections sans valeurPourquoi certains CryptoPunks valent encore plusieurs dizaines de milliers de dollarsComment les grands musées et galeries commencent à intégrer l'art numériqueLes nouveaux usages des NFTs dans le gaming, la billetterie et les objets de collectionIls citent les références suivantes :CryptoPunksBeepleRefik AnadolXcopyArt BaselCentre PompidouMoMALACMANFT MorningOpenSeaSuperRareMerci à notre partenaire eToro de soutenir la Martingale.Allez sur etoro.com et prenez le contrôle de vos investissements. E-T-O-R-O point com.eToro est une plateforme d'investissement multi-actifs. La valeur de vos placements peut augmenter ou diminuer. Votre capital est assujetti à un risque.La libre antenne de votre podcast préféré, Allo La Martingale, a désormais son propre flux ! Abonnez-vous sur Spotify, Apple Podcasts ou votre plafeforme audio favorite pour ne manquer aucun nouvel épisode. Pour s'abonner à la newsletter, c'est ici : https://lamartingale.io/ La Martingale, c'est aussi un assistant IA qui vous apporte des réponses éclairées issues des interventions des experts passés au micro du podcast. Pour tester, direction https://beta.lamartingale.ioLa Martingale est un média d'Orso Media. Vous souhaitez entrer en contact avec a rédaction ? Ou nous soumettre une collaboration ? Ecrivez-nous ici : https://orsomedia.io/contactHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

#162 NYC Itinerary: Art, Flowers, Soda Floats & More In this episode of The Everyday Bucket List Podcast, Karen, Rich, and Cedric share a relaxing 1-day New York City itinerary packed with iconic NYC attractions, great food, modern art, and classic New York experiences. From seeing Vincent van Gogh's The Starry Night at MoMA to walking through Central Park and ending the day with old-fashioned soda floats at Lexington Candy Shop, this Manhattan day trip is full of realistic travel inspiration and practical NYC tips. They talk about visiting the Museum of Modern Art (MoMA), exploring Central Park during tulip season, eating gluten-free food in NYC, and experiencing one of New York City's most nostalgic old-school soda fountains. In this episode, we cover: MoMA, The Starry Night + NYC museum tips Central Park walking spots + Conservatory Garden Lexington Candy Shop, gluten-free food + NYC travel tips We also share transportation advice, portable charger travel tips, and ideas for planning a simple but memorable New York City day trip. Whether you're planning your first NYC vacation or looking for a simple Manhattan itinerary with art, food, parks, and classic New York charm, this episode will help you plan a fun and realistic day in the city. CLICK THE LINKS BELOW OR CUT AND PASTE THEM INTO YOUR BROWSER: Binge-listen to my New York Bucket List Ideas playlist https://open.spotify.com/playlist/07q6GH9BLjr3PWgCxOjreB?si=w9BDltD9RsmOHkao9lyPoA&pi=kg_a0reoT6i9C Binge-listen to my playlist about traveling to Europe https://bit.ly/4g4Bb07 Listen to these episodes next: Spring Bucket List: See the Most Beautiful Tulip Garden in the World Spotify or Apple (Ep157)   RESOURCES: Portable Phone Charger https://amzn.to/4nJd8Ji Grab a copy of The Everyday Bucket List Book https://amzn.to/3vwxz2K Support my work: https://buymeacoffee.com/edbl   Connect with me: Website: KarenCordaway.com Twitter (X): @KarenCordaway https://x.com/karencordaway Pinterest: @Everyday_Bucket_List https://www.pinterest.com/EverydayBucketList/ TikTok: @Everyday_Bucket_List https://www.tiktok.com/@everyday_bucket_list   If you're enjoying this podcast, please rate and review it to let me know what content you want more of! Disclaimer: Some outbound links financially benefit the podcast. Using them is a small way to support the show at zero cost to you. I only endorse products I personally use or would recommend to close friends and family. https://karencordaway.com/disclaimer/    

Beka Goedde and Mandolyn Wilson Rosen join me this episode to unpack our experience visiting renowned artist, Louise Bourgeois' home in NYC. We entered her historic brownstone and were immediately transported to another world and time. Louise lived a full life but was very much an artistic homebody. She made her home her studio in every sense of the word, stuffing each room full of materials to be on hand whenever inspiration struck. She found a way to balance family life with making her work and rode out long career lulls with grace and determination. Come along with us as we discuss our peek inside her sanctuary.More about Louise Bourgeois: https://www.moma.org/artists/710-louise-bourgeoishttps://www.theguardian.com/artanddesign/gallery/2013/oct/18/bourgeoishttps://hicarquitectura.com/2022/12/louise-bourgeoise-femme-maison/Great film about Louise Bourgeois: Louise Bourgeois: The Spider, the Mistress, and the Tangerine 2008Bourgeois works mentioned: "Arched Figure" 1993, "Maman" 1999Bourgeois exhibitions mentioned: The Women at Peggy Guggenheim's Art of This Century gallery NYC 1945, Eccentric Abstraction, curated by Lucy Lippard at The Fischbach Gallery NYC 1966 Artists / Writers mentioned: Joyce Kosloff, Faith Ringgold, Sylvia Sleigh, Lucy Lippard, Linda Nochlin, Joan Snyder, Nancy Spero, Howardena Pindell, Delacroix, Matisse, Suzanne ValadonBeka mentioned Felix Harlan, master printmaker and co-founder of Harlan & Weaver, a fine art print publishing studio who made so many Bourgeois prints.1973 Feminists' letter to William Rubin at MoMA: https://brooklynrail.org/2017/11/verbatim/Louise-Bourgeois-Breaking-the-Mold/Further reading: Louise Bourgeois: Drawings and Observations, Ed. Lawrence Rinder; Runaway Girl: The Artist Louise Bourgeois , a YA book by Jan Greenberg (with Sandra Jordan); "New York Real Estate and the Ruin of American Art" by Josh Kline / OctoberThank you to my guests, Beka Goedde and Mandolyn Wilson Rosen! Find them online at:BekaGoedde.com and @bekagoeddeMandolynWilsonRosen.com and @mandolyn_rosenThank you to the wonderful guides and archivists at the Louise Bourgeois home who made this episode possible.Thank you, Peps Listeners!All music by Soundstripe----------------------------Pep Talks on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@peptalksforartists⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pep Talks Website: ⁠⁠⁠⁠⁠⁠⁠https://www.peptalksforartists.com/⁠⁠⁠⁠⁠⁠⁠Amy, your beloved host, on IG: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@talluts⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amy's website: ⁠⁠⁠⁠⁠⁠⁠https://www.amytalluto.com/⁠⁠⁠⁠⁠⁠⁠Pep Talks on Art Spiel as written essays: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://tinyurl.com/7k82vd8s⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BuyMeACoffee⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donations always appreciated!

Its Chocolate time! We chat with Momma Cacao (Juliet Davies) a Cacoa farmer and chocolate maker plus some great CT chocolate destinations! 

Quando si pensa all'Italia, il caffè è tra le prime cose che vengono in mente. Ma come è arrivato in Italia? Perché gli italiani lo bevono così? E perché, se ordini «un caffè» in un bar italiano, ti arriva sempre e solo un espresso? In questo articolo scoprirai tutta la storia del caffè in Italia — dalle origini africane fino alla moka — e imparerai il vocabolario e le curiosità che ti faranno fare un'ottima figura con gli italiani. Non è italiano! Tutta la verità sul CAFFÈ 1. Le Origini del Caffè: un Viaggio Lunghissimo Oggi il caffè sembra italianissimo — quasi come se fosse nato tra le colline della Toscana o nei vicoli di Napoli. Ma la verità è un'altra: il caffè non è italiano, almeno non all'inizio. Le origini del caffè si trovano probabilmente in Etiopia, in Africa. Esiste una leggenda che racconta di un pastore di nome Kaldi, che un giorno notò qualcosa di strano: le sue capre, dopo aver mangiato alcune bacche rosse di una pianta particolare, non riuscivano più a dormire la notte — erano iperattive, quasi euforiche. Kaldi assaggiò quelle bacche, le portò a dei monaci, e da lì cominciò tutto. Dalla penisola arabica — soprattutto dallo Yemen — il caffè si diffuse rapidamente. Nel mondo arabo nacquero i primi luoghi pubblici dove si beveva caffè, si discuteva di politica, si facevano affari, si raccontavano storie: i precursori dei nostri bar. Il caffè era già un fatto sociale ancora prima di arrivare in Europa. 2. Il Caffè Arriva in Italia Il caffè arrivò in Italia intorno al XVI e XVII secolo, grazie ai commerci tra Venezia e l'Impero Ottomano. Venezia, in quel periodo, era uno dei centri commerciali più importanti d'Europa — la porta tra Oriente e Occidente. Ed è proprio da quella porta che entrò il caffè. Ma all'inizio non tutti erano contenti di questa novità. Alcune persone lo consideravano una bevanda sospetta, straniera, persino pericolosa. C'erano voci che lo definivano «la bevanda del diavolo». Secondo una storia molto popolare, fu Papa Clemente VIII a risolvere la questione: assaggiò il caffè, gli piacque molto, e lo "benedisse" ufficialmente. Da quel momento, nessuno poteva più dire che fosse una bevanda del diavolo — se lo beve il Papa, va bene per tutti. Nel Seicento aprirono le prime botteghe del caffè, che erano molto più di semplici bar: erano luoghi di incontro, di cultura, di discussione. Artisti, scrittori, filosofi, commercianti — tutti si ritrovavano lì per parlare, leggere, discutere. Bere caffè era già, da subito, un atto collettivo e sociale. 3. L'Italia Reinventa il Caffè: Nasce l'Espresso Fin qui, il caffè era semplicemente importato. Ma gli italiani non si accontentano: devono sempre migliorare le cose. Alla fine dell'Ottocento e all'inizio del Novecento, l'Italia fece qualcosa di rivoluzionario: inventò un modo completamente nuovo di preparare il caffè. Grazie all'uso della pressione del vapore, si riuscì a estrarre il caffè in pochi secondi, in modo rapido, concentrato, intenso. Nacque così l'espresso. L'espresso non è solo un tipo di caffè — è quasi una metafora dello stile di vita italiano: breve, intenso, e senza fronzoli. Si beve in piedi al banco, in trenta secondi, si chiacchiera un momento con il barista, e si torna alla vita. Se qualcuno offre un espresso, non bisogna aspettarsi di sedersi e sorseggiarlo per venti minuti come un tè inglese: l'espresso si beve subito, finché è ancora caldo. 4. La Moka: il Caffè Entra nelle Case Italiane Se l'espresso è il re del bar, la moka è la regina di casa. Nel 1933, un uomo di nome Alfonso Bialetti inventò un oggetto destinato a diventare iconico: la moka, quella piccola caffettiera ottagonale in alluminio che probabilmente si è vista mille volte. L'idea era geniale nella sua semplicità: l'acqua nella parte inferiore, il caffè macinato nel filtro nel mezzo, e la pressione del vapore che spinge l'acqua attraverso il caffè, facendolo salire nella parte superiore. Il risultato? Un caffè forte, profumato, fatto comodamente a casa. Con la moka, il rito del caffè entrò nelle cucine italiane. E con esso, entrarono anche tutti i momenti che ci girano intorno: aspettare che il caffè salga, sentire quel gorgoglio caratteristico, gridare in cucina «Il caffè è pronto!» Se l'espresso al bar è la pausa veloce, la moka è il momento lento — il caffè della domenica mattina, quello dopo pranzo in famiglia, quello che fa la nonna. C'è qualcosa di profondamente affettivo nella moka: non è solo uno strumento, è un oggetto carico di ricordi. Il suo nome, tra l'altro, deriva da Mokha, una città dello Yemen famosa per il commercio del caffè — un altro segno del lungo viaggio che il caffè ha fatto prima di arrivare nelle nostre case. 5. Quanti Tipi di Caffè Esistono in Italia? In Italia il caffè non è uno solo. Esistono tantissime varianti, e conoscerle permette di ordinare al bar come un vero italiano. Espresso — il caffè classico: corto, intenso, concentrato. Quando si ordina semplicemente «un caffè» in un bar italiano, arriva sempre questo. Caffè lungo — più acqua rispetto all'espresso, sapore meno concentrato. Adatto a chi preferisce un caffè meno intenso. Caffè ristretto — meno acqua dell'espresso normale, ancora più concentrato e intenso. Non è per tutti — ma chi lo ama non lo cambierebbe con niente. Caffè macchiato — un espresso con una piccola quantità di latte, solo una «macchia». Non è un cappuccino: è un espresso leggermente ammorbidito. Cappuccino — espresso con latte montato a schiuma. È il caffè tipico della colazione italiana. Attenzione: in Italia il cappuccino si beve al mattino, mai dopo pranzo. Ordinarlo nel pomeriggio o dopo cena è considerato una cosa da turisti. Marocchino — espresso con cacao in polvere e schiuma di latte. Una piccola coccola per chi ama la combinazione di caffè e cioccolato. Caffè corretto — espresso con l'aggiunta di un liquore: grappa, sambuca o brandy, a seconda dei gusti. Si dice che il liquore «corregga» il caffè — viene bevuto spesso la mattina da chi ama iniziare la giornata con un tocco in più. Caffè americano — espresso allungato con acqua calda. Più simile al caffè filtrato americano: più lungo e meno intenso rispetto all'espresso classico. Consiglio pratico: per fare colazione come un italiano, ordina un cappuccino e un cornetto. Siediti al banco, bevi veloce, e vai avanti con la giornata. Domande Frequenti Perché in Italia "Un Caffè" Significa Sempre Espresso? Perché l'espresso è diventato il caffè per antonomasia in Italia fin dalla sua invenzione a fine Ottocento. Quando si dice «un caffè» senza specificare altro, il barista capisce automaticamente che si vuole un espresso. Qualsiasi altra variante — lungo, macchiato, americano — va specificata esplicitamente. È Vero che il Cappuccino Non Si Beve dopo Pranzo in Italia? Sì, è una delle regole non scritte più radicate della cultura italiana. Gli italiani ritengono che il latte appesantisca la digestione, quindi il cappuccino — e in generale qualsiasi caffè con latte abbondante — si beve al mattino, a colazione. Dopo pranzo o cena si beve sempre e solo l'espresso. Ordinare un cappuccino nel pomeriggio non è un errore grammaticale, ma è un segnale infallibile che si è stranieri. Qual È la Differenza tra Caffè Macchiato e Cappuccino? La differenza principale sta nella quantità di latte. Il caffè macchiato è un espresso con una piccola «macchia» di latte — pochissimo, giusto per ammorbidire leggermente il sapore. Il cappuccino invece ha una quantità molto maggiore di latte montato a schiuma, che bilancia l'espresso in modo più deciso. In termini di volume, il cappuccino è circa tre volte più grande di un macchiato. Come Mai il Caffè Fu Chiamato "Bevanda del Diavolo"? Quando il caffè arrivò in Europa nel XVI e XVII secolo, era una bevanda completamente sconosciuta e di provenienza orientale. In un'epoca in cui tutto ciò che veniva dall'Oriente o che aveva effetti stimolanti era guardato con sospetto, alcuni ecclesiastici lo considerarono pericoloso e lo associarono al diavolo. Fu Papa Clemente VIII, secondo la tradizione, a eliminare questa diffidenza assaggiandolo personalmente e approvandolo — rendendo di fatto impossibile continuare a condannarlo. La Moka Si Usa Ancora nelle Case Italiane? Sì, moltissimo. Nonostante la diffusione delle macchine per il caffè in capsule, la moka rimane presente nella stragrande maggioranza delle cucine italiane. Ha un valore che va oltre il pratico: è un oggetto carico di significato affettivo e culturale, legato ai ricordi di famiglia, alle domeniche mattina, al caffè della nonna. Nel 2021 la moka Bialetti è stata addirittura inserita nella collezione permanente del MoMA di New York come esempio di design italiano iconico. La storia del caffè è lunga e ricca, così come la sua varietà. Scoprila nell'articolo dedicato a tutti i tipi di caffè. { "@context": "https://schema.org", "@type": "Quiz", "name": "Quiz sul Caffè nella Cultura Italiana", "description": "Quiz interattivo sul caffè italiano con 10 domande su storia, tradizioni, tipi di caffè e vocabolario per studenti di italiano.", "educationalLevel": "Intermedio B1-B2", "learningResourceType": "Quiz", "inLanguage": "it", "hasPart": [ { "@type": "Question", "name": "Qual era la funzione principale delle prime botteghe del caffè in Italia nel Seicento?", "acceptedAnswer": { "@type": "Answer", "text": "Luogo di incontro culturale e politico" } }, { "@type": "Question", "name": "Secondo la tradizione, fu Papa Clemente VIII a far sì che il caffè fosse accettato in Italia dopo averlo assaggiato.", "acceptedAnswer": { "@type": "Answer", "text": "Vero" } }, { "@type": "Question", "name": "Quale caratteristica rende l'espresso diverso dagli altri modi di preparare il caffè?", "acceptedAnswer": { "@type": "Answer",...

S10 E1—When you walk into a room, what does that room tell you about who you are as a human being? What assumptions go into our restaurants and civic buildings and churches and homes and schools? What do they say about who we are and about how we relate to each other? Artist and design researcher Sara Hendren joins Amy Julia Becker to explore how modern spaces—from office buildings to nursing homes—shape what we believe about dignity, dependence, and belonging. Together they uncover how design can either diminish or restore our shared humanity, and why the good life depends on reimagining how we live together.00:00 Introduction to Design and Humanity05:24 Understanding the Machine Model and Anti-Human Design14:32 What Spaces Communicate About Being Human29:29 Design Choices and Human Dignity34:49 Innovations in Dementia Care Design37:26 Art and Dignity for Individuals with Disabilities41:32 The Metaphysics of Dignity and Human Connection51:07 Designing for the Good Life: Relationality and CommunityMENTIONED IN THIS EPISODE:What Can a Body Do? How We Meet the Built World by Sara HendrenPrevious podcast conversation: “S3 E15 | Who Belongs? Disability and the Built World with Sara Hendren”Comment Magazine essay by Sara Hendren: “Pattern Recognition: Design for humans in unexpected places.”Short film: Simple MachineBeing Mortal by Atul Gawande_WATCH this conversation on YouTube: Amy Julia Becker on YouTubeSUBSCRIBE to Amy Julia's Substack: amyjuliabecker.substack.comJOIN the conversation on Instagram: @amyjuliabeckerLISTEN to more episodes: amyjuliabecker.com/shows/_ABOUT OUR GUEST:Sara Hendren is an artist, design researcher, writer, and professor at Northeastern University. Her book What Can a Body Do? How We Meet the Built World explores the places where disability shows up in design at all scales: assistive technology, furniture, architecture, urban planning, and more. It was named one of the Best Books of 2020 by NPR and won the 2021 Science in Society Journalism book prize.Her art and design works have been exhibited on the White House lawn under the Obama presidency, at the Victoria & Albert Museum, the Seoul Museum of Art, the Vitra Museum, and many others, and her work is held in the permanent collections at MoMA and the Cooper Hewitt. She has been an NEH Public Scholar and a fellow at New America, and her commentary and criticism have been published in Harper's, Art in America, The New York Times, the Washington Post, and elsewhere.Website: sarahendren.com__We want to hear your thoughts. Send us a text!Connect with me:InstagramFacebookYouTubeWebsiteThanks for listening! 

Erika Gangsei has run the interpretive media team at SFMOMA for nearly two decades, and for 15 of those years she's been quietly building one of the most coherent game-based programming initiatives inside any major cultural institution in the country.In this conversation, we get into the origins of Play SFMOMA, which launched in 2011, before games as an art form had any real institutional legitimacy, and what it actually took to sustain a program built on deliberate experimentation rather than proven outcomes. Erika talks about the decision to treat game designers the way SFMOMA treats sound artists and filmmakers: as essential creative collaborators, not afterthoughts. She makes a sharp distinction between gamification (which museums were chasing then, and still are) and authentic game-based programming — and explains why that difference matters for visitors.We also talk about the institutional immune system. Erika uses the phrase literally: museums have white blood cells that attack unfamiliar things, and Play SFMOMA has spent 15 years slowly inoculating SFMOMA to interactivity. That means running an AR game jam knowing none of the prototypes would go into production, because the goal was to socialize the idea internally, not ship a product.Other topics: why interpretive departments may actually be a better entry point for games than curatorial, the case for analog and paper-based work in a screen-fatigued world, what it means when a founder-driven program finally becomes an entity unto itself, and the LARPocracy research project—an EU Horizon-funded study using Nordic LARP as a model for deliberative democracy.This one is essential listening if you're inside an institution trying to build something with games and doing it without a clear mandate from above.(00:00) - Meet Erika and Play (01:08) - Broadway Trip Catch Up (03:19) - Origin Story to SFMOMA (08:14) - Why Play SFMOMA Started (13:38) - Where Games Belong (29:01) - Analog Play and Fatigue (34:48) - Scaling Up and Larpocracy For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

Michael Furfari of Gay Smut Club and Gay Smut Studio explains his love of 'smut' photography Michael shares why he loves polaroids What makes a good model Why the bartenders, go go boys, staff make some of the best models What was it like working with our very own Kodi A new project that involves MOMA... Michael weighs in on why so many gay guys are fed up with gay dating apps and shares a recent dating story... Hot Topic: Gay immigrant couple reunited after 150 days in ICE detention... Hot Topic: Gay men reveal their getting-ready hacks for a great night out and the hosts share theirs... Hot Topic: Luke Evans is a Tom of Finland real life model at the MET... Advice: Difference between 'Friends with Benefits' and 'F*ck Buddy'.... Visit: Steve V's new app - Studio.com/stevev for the website version and visit the app version: Studio.com/stevev/connect Follow our Special Guest on IG: @gaysmutclub and @gaysmutstudio Follow Gay Smut Club on X: https://x.com/gaysmutclub Follow Stevie on IG: @iam_stevev Follow Kodi on IG: @mistahmaurice Rate and Review us! Wanna drop a weekly or one time tip to TAGSPODCAST - Show your love for the show and support TAGS! Visit our website: tagspodcast.com Needs some advice for a sex or relationship conundrum? Ask TAGS! DM US ON IG or https://www.talkaboutgaysex.com/contact Follow Of a Certain Age on IG: @ofacertainagepod Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

"But What Time Is It Really?" Because their legacy is so vast, their musical output so singular and their influence so far-reaching, telling you a little bit about Cabaret Voltaire is like telling you a little bit about outer space. A long tine ago, say 1973, in a galaxy far, far away, say Sheffield, England, Richard H. Kirk, Stephen Mallinder and Chris Watson got together to, in their words, make music without musical instruments. What did that mean? Well, it meant innovation because this was not a three-piece banging away in a garage, it was three guys experimenting with tape loops, custom-built kit oscillators, keyboards and wind instruments. Although traditional instruments were included, Cabaret Voltaire were anything but a traditional band. Falling somewhere between performance art and industrial music, Cabaret Voltaire remain one of the most innovative, idiosyncratic and unique bands of all time. Incorporating elements of techno, house, funk, synthpop, electronica and dub, the band's striking soundscapes were massively influential to bands like Depeche Mode, New Order, Skinny Puppy, David J. and Nine Inch Nails. Watson left the band in 1981 but Mallinder and Kirk soldiered on, keeping up Cabaret Voltaire's unbelievable working pace. The band put out fifteen albums in as many years, including classics like Mix-Up, Red Mecca, The Crackdown and Micro-Phonies. Kirk died in 2021 at 65 and to celebrate the 50th anniversary of the band, Mallinder and Watson started touring, put out a live album and will be on the road until year's end, taking their valedictory bow. A journalist, an academic, a studio owner, a producer and a filmmaker whose videos have been exhibited at MOMA in New York, Mallinder remains a busy man and I'll let him tell you all about that. But let me say this: if you listen to Cabaret Voltaire, it's like listening to the future before it happened. Their work is an astounding blend of multi-media and post-punk that eludes the timeline--their records aren't fixed to any point on the map and instead sound like they come from a universe that is at once both distant and familiar. www.cabaretvoltaire.bandcamp.com www.bombshellradio.com (http://www.bombshellradio.com) www.stereoembersmagazine.com www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers: IG + THREADS + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

Leon Black's fall from grace at the Museum of Modern Art came in early 2021, after intense public backlash over his deep financial relationship with Jeffrey Epstein. Reports revealed that Black had paid Epstein approximately $158 million for tax and estate advisory services, long after Epstein's 2008 conviction for soliciting sex from a minor. The revelations sparked outrage across New York's art world, with artists, staff, and activists demanding his removal from MoMA's board. Protesters accused the museum of moral hypocrisy for maintaining ties with a man linked to Epstein's network, arguing that his presence tainted the institution's credibility and mission. As pressure mounted from both within and outside MoMA, calls for his resignation grew louder, and donors began quietly voicing discomfort about his continued leadership.In March 2021, facing unrelenting scrutiny, Black announced that he would step down as chairman of MoMA's board and not seek re-election when his term ended. While he technically remained on the board as a trustee, his exit from the chairmanship was viewed as a forced retreat under immense public pressure. His resignation from the top spot came shortly after he also resigned as CEO of Apollo Global Management amid the same Epstein scandal. MoMA attempted to minimize the fallout by framing his departure as voluntary, but the timing — coming amid protests and reputational damage — made clear that Black's position had become untenable. His exit marked one of the most high-profile instances of cultural institutions severing ties with financiers connected to Epstein.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

A special in-studio appearance and performance of audio art by Kamari Carter and Gladstone Deluxe in partnership with CU Boulder's Media Archaeology Lab, during Carter's artist residency at the MAL! Kamari Carter is a New York-based artist primarily working with sound, video, installation, and performance. His practice critically engages with materiality through a variety of recording and amplification techniques to investigate notions such as space, systems of identity, oppression, control, and surveillance. Carter's work has been exhibited at such venues as Automata Arts, MoMA, Mana Contemporary, RISD Museum, Flux Factory, Lenfest Center for the Arts, WaveHill and has been featured in a range of major publications including ArtNet, Precog Magazine, LevelGround and WhiteWall. Kamari Carter is represented by Microscope Gallery in New York City. Gladstone Deluxe is a New York based artist working with percussion and electronics. As a percussionist, Gladstone is interested in how conceptions and politics of time are embodied, and can bleed into the social topography of a culture through rhythmic performance. As a technologist, they develop systems for the augmentation and amplification of percussive messages. Their experimental approach towards composition and interface design is a collision of the spiritual and the cybernetic. They've appeared in galleries like The Warhol Museum, Rubin Foundation, Chashama, the Carnegie Museum of Art, and clubs all over the country.

Casey Baltes led the effort to build the Tribeca Games Festival from the ground up—and she'll tell you the hardest part wasn't the games. It was building internal credibility. In this episode, we talk about curation, community, and why institutions that try to do everything in games end up doing nothing well.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

This weekend, we’ve got one movie Em couldn’t finish… and one we’ve been counting down to for years.First, a chilling new thriller set frighteningly close to home, where a solo wilderness trip turns into a full-blown nightmare. Think high-stakes survival, a relentless predator, and the kind of tension that will have you questioning every outdoor plan you’ve ever made.Then, the sequel that’s been decades in the making has finally arrived — and yes, we have thoughts. From long-awaited reunions and career shake-ups to shocking betrayals and emotional moments that genuinely land, we break down what works, what doesn’t, and whether it lives up to the legacy.Test your knowledge with our Devil Wears Prada quiz here and let us know how you go! Remember The Spill drops the tea twice a day in this feed so follow us for all the latest entertainment news… OR you can WATCH our show in full length video on the Apple Podcast app - make sure your phone is up to date and enjoy the watch! Link here. THE END BITS Find and follow us on socials: Instagram: https://www.instagram.com/thespillpodcast/ TikTok: https://www.tiktok.com/@thespillpod Facebook: https://www.facebook.com/thespillpodcast/ Read all the latest entertainment news on Mamamia: https://mamamia.com.au/entertainment/ Read more weekly watch recommendations from the Mamamia entertainment team here. Support Independent Women’s Media: https://www.mamamia.com.au/subscribe/ Your subscription helps us continue to tell the stories that matter to women. Want to join the conversation? Have feedback or a topic you want us to discuss? Send us a voice message or email us at thespill@mamamia.com.au and we’ll get back to you ASAP! Executive Producer: Monisha Iswaran Audio & Video Producer: Michael Kean Mamamia acknowledges the traditional owners of the land on which we have recorded this podcast. You're listening to a MoMA mea podcast from Mamma Mia. Welcome to this spill your daily pop culture fix. I'm Laura Brandy and I'm Vernon, and welcome to Weekend Weekend, where we talk about the best new TV shows and movies that have just dropped this week. Although this week we have two movie recommendations for you to Buzzy movie recommendation. 00:31Speaker 2 Sorry, we need to correct that we have a movie and a half recommendation. 00:34Speaker 1 Okay, I'm already off you for just saying that. A half recommendation Emily Treesman and what do you. 00:41Speaker 2 Mean, guys? I tried really hard. So the movie I'm recommending is called Apex. Yes, it is on Netflix and it stars Charlie Theron and Taron Egerton. This movie is a horror suspense movie in the wilderness. It is so scary. I've only watched half of it. 01:03Speaker 1 Are you serious? 01:04Speaker 2 It's so scared. 01:05Speaker 1 It's okay, But also I just want people to take that with a grade of salt, because you're a scared cat. 01:09Speaker 2 I'm like, you're easily scared, easily scared, but this one just reached a whole new level. 01:15Speaker 1 I don't know what it is. 01:16Speaker 2 Maybe it's a type of horror that I am scared of, which I've only just established from watching this movie. Anyway, I'll let you know what the movie is about. 01:24Speaker 1 Please do so. 01:25Speaker 2 Charlie's Theron plays. This happens in the first few minutes of the film, so I feel like I can say, ye say it. She's like an adrenaline junkie. Yeah, she's like loves rock climbing. She's like one of those dar devil kind of people. And both her and her partner are in the like early early stages of the movie, so this is not a spoiler. They're climbing up this mountain and he falls to his death. 01:46Speaker 1 Okay, just so you know, every climbing adventure movie starts like that. 01:50Speaker 2 Yeah, yeah, yeah, it sets up her as a person. 01:53Speaker 1 Yeah, exactly every movie I've watched about people being like dare devil junkies climbing blah blah blah. Yeah, like for that movie where they're it's on top of the tower and there has to climb up death at the start. Also, yeah, every every kind of climber, you have to. 02:05Speaker 2 Figure out the main character's purpose. 02:07Speaker 1 Yeah, you need to know the steaks straight away. Because all of a sudden, you're just like, this is so dangerous, people are gonna diet. It makes you And also, can I say nothing is more terrifying than watching on screen someone accidentally fall to their death because you can feel it. I don't find it like a like a like my hands. And it's the type of the it's the type of horror that I can't get around. Yeah, it is so scary because it's so rare. You're so worried that one day you might And you famously don't love the outdoors. You don't love activities, You don't love anything that would put you at a great height. 02:35Speaker 2 Why why hate nature? 02:36Speaker 1 Yeah no, why not famously hate nature? Hate adventures? So why do you think you'd find yourself in the situation that you would be climbing a great like mountain or something. 02:45Speaker 2 I'll tell you why, because this movie is set in the blue mountains. 02:48Speaker 1 Yeah, it's way to Also, if she was doing it with her partner, you're like, of course that's gonna happen to you. If you go on a date with someone that let's go climb a mountain, You're like, okay. 02:58Speaker 2 God, you'll never catch me with someone like that. 03:01Speaker 1 Oh see, I think it'd be a fun day. 03:02Speaker 2 I can immediately suss out on dating apps who the adrenaline junkies are in the men that I match with, and it's an immediate I can't shite past s, white past I can't do it. I can't do it. I am not an adventurous woman. 03:14Speaker 1 So this is set in the Blue Mountains, right, And can I just say, we're only just getting over Australia's like pr problem of the whole Wolf Creek situation where for years people were just like because obviously that's about that's based on a true story of a man in the outback who hunted and killed backpackers and those movies and the TV show are so gruesome. 03:32Speaker 2 Well I think they learned from that. So it's not actually like mentioned that it is the Blue mass if they made up like some fictional like national park. But it was very it's very clearly the Blue Mountains, and we all know that they filmed in the Blue Mountains. 03:45Speaker 1 People know it's in Australia. 03:46Speaker 2 Yes, it's very because Taron Egerton has a very Bogan accent and it's a very well done Bogen action. 03:53Speaker 1 We we love a stereotype when it hits. 03:55Speaker 2 Yes, it is, that's what it works so good, to the point where I was like, I forgot he was Australian. Then I was like, but he's not. He's very British. It's very British man anyway. So yeah, Charlie's husband dies. She now goes traveling to Australia to do this like long long nature walk. It's giving Wild, Yeah, it's giving cake. 04:16Speaker 1 It's giving Reese with a spoon, like trudging along a long. 04:19Speaker 2 Path with a backpack, except a man is hunting her. 04:22Speaker 1 Yeah, and you know what, Wild could have used that infusion of a bit of drama. 04:26Speaker 2 It's like, let's hurry it up, let's speed it on, walk faster Reese. So it's basically about Charlie. He's like going through the Blue Mountains while being hunted by a man, hence Apex. It is so scary because it's so real. 04:41Speaker 1 Oh okay, it just feels real, Yeah, because the fantasy element or anything like that to it, Like it's just an evil man doing evil thing, and it's all about. 04:50Speaker 2 Like women like exploring on their own and how are reminded that we can't do that? 04:54Speaker 1 Oh okay, well yeah, exactly that's everyone's biggest fear when they go out on these things. It's like, again, I love that. 04:59Speaker 2 I can't even walk to me corner shop at nine pm because you're so scared. This movie has blindlessly the spirit. 05:04Speaker 1 A woman is literally out in nature by herself, doing dangerous things, and the most dangerous thing is still a miss, it's still a man. Well that you should have just got a bear in there and called it a day. 05:14Speaker 2 The bear would have actually helped her movie Cocaine bear. That would have been a great bed to have. Anyway, It's so scary, but it's so good. And the filming of the actual like scenes of like the walkthrough of the bush and like her in the river and like getting like thrown over in the kayak is like so like so scary. It's so so well done. It doesn't feel any like it's a proper film. It's not like anything cgi at all. It's just done really well. Her acting is amazing. His acting is amazing. We already would have known that. But it's just one of those movies if you are like an adrenaline junkie or you love like that kind of like suspense horror of like will he catch her. Won't he catch her? 05:54Speaker 1 Then? 05:54Speaker 2 This is like the kind of movie for you. You're on the edge of your seat. You're like sweating through the whole thing. 05:58Speaker 1 And how shary, isn't it? Because she's a good action stuff. 06:01Speaker 2 She is so good. She comes across like the good thing about her being in this film is that it's not I feel like if it was a different actress, that could have gone the way of like the poor woman can't get away, Like she's so small and fragile, she can't escape this. She comes across as like a badass in this film, Like it's not like Damsel in distress. It's very much like you can do it, you can make it out like she's so strong. I think that's also the premise of the film. And in that beginning scene, you know she is like well experienced in this world. So it's nothing like, oh my god, I don't know what to do. I don't know how to fire a gun, I don't know what to do. It's like very much like she can do this, she can do this. We're backing her. She's gonna win, okay. Taron Egerton so scary. 06:40Speaker 1 So scary. That's complicated for you because you love. 06:44Speaker 2 Him, she's so and he's like been in an Australia bondai watching the paparazzi photos, pretending it's. 06:50Speaker 1 Filming or horror. Okay, so apex on Netflix. Someone please watch the movie and then tell scaredy Cat Emily the ending. 06:58Speaker 2 Oh my god, yes, and tell me where if you can. I'm not wearing the Blue Mountains. I did the filming. I don't want to go there. 07:02Speaker 1 Don't you want to go there and take a picture. 07:04Speaker 2 I don't want to avoid that. They at all casts. 07:07Speaker 1 Okay. I can't believe this day has finally come. The build up to this for years. But also I feel like I have been living this movie the last month or so, at least because I traveled overseas into the cast. I've written multiple articles about it, We've released multiple videos and podcasts. And what will I do with my life? 07:28Speaker 2 It is that true? What? What are your plans? I don't know. 07:30Speaker 1 There's just darkness. There's just dark. 07:32Speaker 2 Take up a hobby, maybe go go bushwalking in the Blue Mountains. 07:35Speaker 1 I call you. I'm like, okay, I tried to be Telly's throw and I'm hanging from a mountain. What do I do of course, I'm talking about the fact that the devil weares prior to to is finally in cinemas. 07:48Speaker 2 You are here to help us through our current scandal, but I did not hire you, and all I need to do is my time until you've failed what you check the train do. 07:59Speaker 1 I'm going to make something of this job. You could write a book, The Definitive Miranda Priestley Expose Sindy. We did that. 08:08Speaker 2 The Brunello Cucinelli pants. Love those, and you definitely need an embroidered two piece to tam set, but not the terra cotta. Because you're so pale. 08:20Speaker 1 So. 08:22Speaker 2 Jealous that you watch it, I have such fomo. If you've listened to our episode where we talked about your interviews, I said I was saving to watch it with my mum, which I'm doing this Sunday. It's only a few days away. I was so jealous because you and a lot of the team got to watch it. You went to the Sydney premiere for it. Was it on the Tuesday, Yes, it was on the Tuesdays. 08:44Speaker 1 It was the very fans. 08:45Speaker 2 This has been a very long week for me space It's. 08:47Speaker 1 Been a lot. Yes, it was very fancy premiere at the State Theater. It was all done with the iconic red Devil Wears shoe. The champagne was flowing. They had like Devil Wears prior to like customized coke can give back some. 08:59Speaker 2 Of you didn't bring me back? 09:00Speaker 1 Oh my god, actually said, I didn't break myself back. But actually I'm why. I'm really sad that you're there. Just as a quick note is that you know how normally at the State Theater to line up, you line up along the street and it's chaos. And this time I was like, oh, there's no line, this is great. No, the line was down a back alleyway, so every person moved there and I saw like really famous people, like people have had huge TV shows overseas, like Australian influences, like Australian actorssh stars. No, I didn't see Practice Brummel here, who's obviously in the movie. No, No, I'm assuming that they didn't make him. We had to go all line up at an alleyway and at one point you're standing next to bins and barbed wire, and I was like, our jobs are so bad. 09:38Speaker 2 As Miranda would have won it. 09:39Speaker 1 Yeah, exactly, I have everyone being like this is us at the Devil was problem. No, it was so fun to see in a cinema because obviously, despite the fact that I interviewed the cast, I've written about it and done all these podcasts, I hadn't actually seen the full movie until that night because it was kept under lock and key. So now that I've seen the full thing. 09:55Speaker 2 I'm like, God, do you think I love it? Did you love it? 09:58Speaker 1 I liked it so and that's really high praise love. No, no, no, I loved I loved parts of it. I'm not even exaggerating, Like, here's the thing about the Devil weares prior too so so much to say. So it does pick up twenty years after the original, and again this is this is spoiler free because Emily hasn't seen it. I wouldn't do that to you, so don't you guys worry. So obviously we find Andy Sack. She's back in New York. She looks at the fact that she's been living overseas for many years and she's fulfilled her dream of becoming a serious journalist. But then that job gets ripped away from her and I won't say why, but it's very upsetting and sad. And also can I just say PSA to anyone who works in the media industry, This movie is very sober. You're like, oh, I should find another job just in something, but I have no other skills. 10:43Speaker 2 This is the one thing. 10:44Speaker 1 What do I do? So there's that. And at the same time, Miranda is still at Runway Magazine where she is the editor in chief, but she's up for a really big promotion. But the promotion yeah to like with a lives Clark, which is the publishing house, Like still be at Runway, but be like a drive kind of like how Adam Wintaur is now like still the Bosses, but now the overseeral of all the Conde Nast kind of products and things. But then a huge scandal breaks and Miranda and Runway face cancelation and also what will become of her promotion? Yeah, so the states could not be higher. Nigel, obviously played by the incredible Stanley Tucci, is still at Runway Magazine, still the fashion editor, but because of the way media has gone, now his fashion empire, I think I wrote in my review his fashion closet is now a cutlery draw, as in, like not a physical culturally draw, but like the size and the end and stuff. And at the same time, Emily Blunt's character Emily Charleston, is an executive at Deal. But there's a whole backstory there that I shan't get into, so there's a bit of a twist of fate to get it at what I give too much away that Andy ends up back at Runway Magazine as the head of the features department, and then it's this kind of thing of like her having to prove herself to Miranda, save the magazine, save people's careers. And then a lot of the movie also takes place in Italy. Oh yeah, okay, and those things are right switch like Emily, Yeah, They're like, hey, let's do our last season somewhere else. So I will say the best things about it. The original screenwriter, Aleene Broch McKenna, who wrote the first Devil west prit Of movie, is back and out of any movie where it's important to have the original screenwriter, the Devil Wes Prior, I would say is the one that matters the most because the dialogue is such a huroow piece of like the quotable lines, every line exactly, it's like every there's no it's all, it's just so snappy, so smart, so interesting, and so she's penned the sequel script and you can so tell it's exactly the same kind of humor. It's so cutting and interesting and you have these great one liners, so we love that. Of course, the cast are amazing, like watching them step back into these roles, and it's done a way where it doesn't feel jarring and it doesn't feel like you know, sometimes you step back into watching something and it just feels weird, like a lot of people said that with the Gilmore Girls Reboo, that it felt off with the pacing and how they spoke and the delivery and staff, whereas this feels correct. And also it starts so strong like the Devil we is Prota too, Like they jump straight back into the kind of the mix of the drama and you have the four main characters of Emily Blunt, Stanley Tucci, Meryl Streep and Anne Hathaway on screen together very quickly, which was actually a request I found out from Emily Blunt when she read the original script of saying like I don't think we have enough scenes with the core four, and we need one earlier on and that and it doesn't feel like fan service. It just really works and puts you into this world. 13:30Speaker 2 So do we have a lot of montages? You know? I love a montage, really a montage. 13:35Speaker 1 That's the thing. That's the thing. It's not as bring back montages, I know, I bring back makeovers. 13:40Speaker 2 So there's no, there's not and has always the best on montage, no, I know. 13:43Speaker 1 But also because she they explain why she still looks really good and she has nice clothes, like there's a plot point for that. She does get to go into the fashion closet a few times with Stanley tucciin and he pulls or a few things and stuff like that. But I will just say from my untrained fashion eye that the fashion this movie is nowhere near as good as the first. And I give it a little bit of grace because I've been watching the first one for twenty years, so those outfits are burnt into my brain. But I have such a vivid memory of watching The Devil Wes Prita, and every time like a new outfit would come on, you'd be like yeah, yeah, and me going home. And I was like working as a checkout chicken at Kmart in Townsville and I'd like try and like dress like The Devil Wears Pride of characters and it just. 14:20Speaker 2 Like so many movies have taken that, like yeah, montage of the fashion, like coming out of the car door, but then going in the building in a different outfit, and then going into a room and they're in a different outfit, and being at your desk and she's in a different outfit. 14:33Speaker 1 Oh okay, Okay, look, there's great clothes in there, but the clothes don't feel like this incredible character like they did in the first Mate. Okay, I will say, just going back to the good things because I'll get to the bad stuff in a minute. It doesn't feel like a sequel that shouldn't exist, Like it feels like there was more storyless deserve. It feels really deserved, not just because it's so good, but also because The Devil Wears Pritor. When I was really thinking about when I was sitting at my computer writing my review very late last night in this office, I was like, what is it that made this movie so ripe? For the fact that you could make a sequel, despite the fact that it's so beloved, because it's heaps of beloved movies that have released sequels that have not been good and that felt not correct and not needed. But The Devil wes Prator is one of the very few movies that ends on both an ending and a beginning because it ends with Andy leaving going off to forge her career. It ends where Emily is also starting her career. So it kind of it's very natural to wonder what came next because we're seeing the beginning of these women's careers, not the ending. And also Andy was like, she was kind of you getting back together with Nate, but she also was breaking out with him, So it's not like because to make a sequel in general, you often have to break things from the original. You have to break up a happily ever after, you have to end a friendship, you have to bring back a villain to make it work. It's like where people are upset about and just like that with Sex and the City because in order to bring Sex and the City back, they had to break all the things from the finale, and that's why people found it jarring. Whereas Devil we was pritor. It's just like you didn't have to break mething. 16:01Speaker 2 It was very much to be continued. 16:03Speaker 1 Yeah, exactly, and so that's why it feels like it the story is worth it. But also the story and the plot I thought was so great at the end. It has like I would feel like Shakespearean level twists and betrayal. Like a few times I was a gasping. I was like, and she said that, Oh my god, she says, someone says such. We'll talk about this when we do a brially honest review, which mystery. There's a few lines in there. I'm like, that is the meanest thing that anyone has ever said on film, but so but so like needed. There's some really emotional moments in it too, and the emotion didn't feel like, oh, we're just piggybacking off the original like they felt earned in the new movie. So that's all the good stuff. Ten out of ten love recommend see it in the cinema if you can. It kind of peetered a bit in the middle, and I began to get this like kind of sinking feeling in my stomach that The Devil was product had ruined the character of Miranda Priestley, because I felt like it had taken away some of her mystique and some of her the things that made her an iconic character by some times making her look really helpless or making her like giddy and happy. There's the point where she's like in the kitchen of her home, like just like making a drink and like she's chatting away to Andy, and I was like, I feel like I'm watching a female she doesn't do that, but Jed it makes sense later on the movie. It's like in the first movie, how they had to have that scene of her with no makeup where Andy comes upon her. 17:19Speaker 2 You had was that a scene that Meryl Street requested? 17:22Speaker 1 Yeah, they wanted to take it out of the first movie, and she was like, if you don't have that scene of her broken and different, then the movie doesn't work and the charactersn't work. And as I watched this movie, I was like, Oh, we needed those giddy, helpless scenes in the middle. She needed to kind of falter so that when she started flying get at the end, you were like, oh, I get it, I get it. There was that, And also the other thing is like the new character is so great, like somewhere in Ashley Turn Out of Ten, Caleb Haron, Turn Out of Tan, like everyone else so good. There was obviously so much that was shot that had to be cut, Like we've heard about all the cameos and scenes. 17:54Speaker 2 God and ashually wasn't cut. 17:55Speaker 1 Yeah, no, no, she was. Well, I think she'd have a lot more scenes, but obviously they didn't all make it into the movie. Even Meryl Strip told me in our interview that her scenes were cut. 18:02Speaker 2 Yeah, that's right. 18:03Speaker 1 But where I think having so much of the storyline needing to be cut was with Patrick Bramble's character Peter. And he's very charming in it, but it's such a small storyline in the movie, and. 18:16Speaker 2 So he's meant to be like ane Haeway's love and. 18:18Speaker 1 She's only love interest. Yeah, and there's a lot of paparazzi photos of them that came out because he's so hot, really, he's hot, and there's a lot of they became like iconic paparazzi photos of him and Anne Hathaway filming outside in New York and they look so crazy in love and it looked like an old school romance, and we were like like an old school room calm, and everyone's like, oh my god, can't wait to see that. That's one in the movie. Yeah, I just want you to be he's he's in it. He's definitely he's a character, Like he's fine. He hasn't been like he's not he's not Sidney Sweeney, Like he didn't get chopped. Yeah, cameo. But it did feel like that storyline wasn't given enough room to breathe. And I understand why because there was so much plot happening, and you want the plot to be with the four main characters, but then to meet for a little uneven at the end when he and like Anne Hathaway's character were having their big moment, I'm like, you guys are acting off these scenes. You've already shot your head, like. 19:12Speaker 2 They haven't had enough moments to have a big moment. 19:14Speaker 1 Yeah, Like, you guys are acting in the way that your characters spend so much time together, but we as the audience haven't seen that, so we're on the back foot with it a little bit. 19:23Speaker 2 And you don't even know him. 19:25Speaker 1 I was like, wait, is that strange man? But yeah, So that's my only note so on that, I would just say, release the director's cut. I would watch a four hour version of this movie, so easily avenge this. Yeah, bring back director's cuts where we get to see the full thing. So obviously more to say next week when we do a b really honest review and you've seen it, I can't wait to hear what you think. 19:45Speaker 2 I don't wait to watch you with my mum. I just rewatched the original. 19:48Speaker 1 Oh and yeah, per person, So The Devil was prot Of too is out in cinemas now, and stay tuned for. 19:57Speaker 2 If you love the Devil's product. I mean, I've just rewatch the original film. If you're on that same bandwagon and you feel like you know everything about it, we actually have a little gift for you. We have developed a Devil west Prada quiz to test your knowledge on the original film. If you want to give it a go. It is a little bit hard, but I felt like I made it through. I think I got like eighty six percent. 20:18Speaker 1 You thought it was okay? 20:20Speaker 2 Bye, Sorry Devil west Prada. I got of course you did. Anyone gets that you let me more than Emily or an LB. If you want to find out, we'll put a link to the quiz in our show notes. 20:31Speaker 1 We should do a quiz out you got. 20:32Speaker 2 Laura, thank you so much for listening to this episode of the Spill. Don't forget We'll be back this afternoon with a very special Brudleons review about a TV show that both of us are currently obsessed with. The Spill is produced by Minitius Warren with video production by Michael Kaine. 20:50Speaker 1 Bye Bye, Mamma Mia acknowledges the traditional owners of the land. We have recorded this podcast on the Gadigal people of the Orination. We pay our respects to their elders past and present, and extend that respect to all Aboriginal and Torrestrate Islander cultures.Become a Mamamia subscriber: https://www.mamamia.com.au/subscribeSee omnystudio.com/listener for privacy information.

The first American retrospective of the work of pioneering artist Marcel Duchamp in 50 years has landed at the MoMA. Curators Ann Temkin and Michelle Kuo discuss the show, running now through August 22. Image by Alfred Stieglitz; 'Fountain' (photograph of readymade by Marcel Duchamp). New York, 1917. Gelatin silver print. Box in a Valise Archive, private collection, USA. © Association Marcel Duchamp / ADAGP, Paris / Artists Rights Society (ARS), New York 2026

runDisney Springtime Surprise 2026 is in the books, and it might have been the best weather the race has ever had. The Will Run For crew is back with a full recap of all three races: the Zootopia 5K, the Winnie the Pooh 10K, and the 10-Miler, including character line strategy, merch opinions, snack box verdicts, and every chaotic moment in between. We also have a ton of Goal Getters and celebrate our friends at On the Runs.runDisney Springtime Surprise 2026 full recap — 5K, 10K & 10-Miler• Zootopia 5K: cool weather, smooth character lines & course breakdown• Winnie the Pooh 10K: character line strategy, costumes & longest wait times• 10-Miler: Tom's strongest runDisney performance & three and a half hours of Disney magic• runDisney character line tips: what worked and what didn't this year• Springtime Surprise merch review: $45 tank tops • runDisney snack box verdict: the return of Fritos and the cheese situation• Meeting listeners in person — including Margaret who went straight to the Boston Marathon• Inside the Runner's Studio is coming back — how to sign up• Bryana's NYC weekend: BookCon, MoMA, The Lost Boys musical & Flyers in the playoffs• AI art controversy: Earth Day, workplace AI mandates, and training your replacement• Goal Getters: Boston Marathon finishers, Dollywood, Broad Street, Tori's appendix removal & more• Soul of the City 10K this Saturday in Baltimore• Something Good: Love on the Spectrum, The Dark Wizard (HBO documentary), Artemis II missionCome laugh with us as we share our running experiences and talk about everything from our favorite beer runs to our chafing nightmares. Tell us what YOU run for... Email us or leave a voice memo at WillRunForPodcast@gmail.com Find us on Facebook and Instagram @WillRunForPodcast Tag your pictures and stories @WillRunForPodcast and help grow our community.

Casey Baltes, VP of Games at Tribeca Enterprises, breaks down why most institutional game-based programs stall — and the structural decisions that have made Tribeca Games one of the few that hasn't. We get into executive buy-in, curatorial focus, the case for interpretive content over exhibitions, and why financial sustainability is the conversation no one in the cultural sector wants to have.For more insights, signup for my newsletter.Jamin Warren founded Gameplayarts, an advisory that helps museums and cultural organizations engage with the world of gaming. He provides them with the research, strategy, and execution they need to reach gamers for the first–or millionth–time. Gameplayarts' past and present clients organizations like MoMA, the Getty Research Institute, Tribeca Enterprises, and PBS.

“These technologies are morally agnostic. They could be the best things ever and the worst things ever, and the determinant is us.” — Jamie Metzl Two summers ago, Jamie Metzl gave a talk on AI and spirituality at the Chautauqua Institution in Upstate New York. That same spot where Salman Rushdie was stabbed on stage a couple of years earlier. Rather than an assassination attempt, Metzl's talk triggered The AI Ten Commandments: A New Moral Code for Humanity — a book co-authored with GPT-5. Metzl humbly claims that AI enabled him to incorporate other non-Christian traditions in a new moral code for humanity. Some might think, however, that this type of ChatGPT-5 co-production reflects a new moral crisis for humanity. The victory of AI slop. Fast information. High on intellectual calories, low on everything else. Five Takeaways •       Co-Authoring with GPT-5: Five to six thousand back-and-forth exchanges over the course of writing the book. Metzl is a novelist who cares deeply about language and the provenance of ideas — he is explicit that this is not the kind of AI fraud that got Mia Ballard's book pulled from Hachette. The analogy he reaches for: Refik Anadol at MoMA, whose installation uses the museum's entire digital collection not to reproduce the images but to create something new from them. The collaboration with AI isn't about outsourcing the thinking. It's about gaining a vantage point that no individual human could have — the same way we collaborate with machines in biology to see the genome, which no one could simply observe by looking at another person. •       Moses's Problem: The biblical 10 commandments, examined closely, don't hold up. The first two are preamble. “Thou shalt not kill” — Moses received it on Sinai and then came down and murdered 3,000 people at God's instruction. The commandments were written by people with no awareness of the moral traditions of the Americas, Asia, or Africa. Metzl's counterproposal uses AI to look at all of human recorded history simultaneously — every tradition, every culture, every spiritual framework — and decipher what they share. The analogy: the Artemis II astronauts seeing Earth holistically from space, rather than one community at a time. •       The Ten Commandments, Listed: (1) Treat every being with compassion and dignity. (2) Do no harm; actively protect the vulnerable. (3) Speak and act truthfully, with integrity and humility. (4) Share generously, especially with those in need. (5) Seek to understand others before judging them. (6) Resolve conflict with fairness, forgiveness, and the intent to heal. (7) Live in harmony with nature and all forms of life. (8) Value wisdom over dominance; cultivate inner growth. (9) Honour the freedom and uniqueness of others. (10) Remember the sacredness of life; live with awe, gratitude, and love. Metzl's favourite is number ten. Andrew's objection: you don't need GPT-5 to come up with any of these. You could get most of them from a local Buddhist centre. •       Humanistic Slop vs. Selfish Survivalism: Andrew's repeated challenge: these principles are so unobjectionable that they amount to nothing — a kind of AI-laundered platitude. Metzl half-concedes, but argues that the absence of articulated universal norms is itself a political danger. Kant described the League of Peace in 1795. It took a hundred and fifty years and two world wars before the UN Charter was signed in 1945. The UN has now largely failed. If we don't articulate what we're trying to achieve, it becomes even harder to get there. Globalism, in Metzl's framing, isn't idealism. It's survivalism. Our fates are intertwined whether we recognise it or not. •       The Eleventh Commandment: World-changing technologies must be governed responsibly, including through national regulation and accountability frameworks. The hope that AI CEOs will voluntarily do the right thing — even the best of them, even Dario, even Demis — is a terrible strategy. It will fail, because some companies will always seek opportunity. The nuclear analogy: at the dawn of the nuclear age, nobody said “alright, just do whatever you want and good luck.” These are civilizational transformations. They require governance. These technologies are morally agnostic. They could be the best things ever and the worst things ever. The determinant is us. About the Guest Jamie Metzl is a technology futurist, geopolitics expert, sci-fi novelist, and founder and chair of OneShared.World. He is a Senior Fellow at the Atlantic Council and a Singularity University expert. He is the author of The AI Ten Commandments: A New Moral Code for Humanity (co-authored with GPT-5, April 21, 2026), Superconvergence, and Hacking Darwin. References: •       The AI Ten Commandments: A New Moral Code for Humanity by Jamie Metzl and GPT-5 (April 21, 2026). •       OneShared.World — Metzl's global social movement and Declaration of Interdependence. •       Episode 2877: Keith Teare on AI Is Not Dangerous — the Silicon Valley seminary argument, one episode prior. •       Episode 2878: Victoria Hetherington on The Friend Machine — the AI intimacy investigation that immediately precedes this show. About Keen On America Nobody asks more awkward questions than the Anglo-American writer and filmmaker Andrew Keen. In Keen On America, Andrew brings his pointed Transatlantic wit to making sense of the United States — hosting daily interviews about the history and future of this now venerable Republic. With nearly 2,900 episodes since the show launched on TechCrunch in 2010, Keen On America is the most prolific intellectual interview show in the history of podcasting. WebsiteSubstackYouTubeApple PodcastsSpotify Chapters: (00:31) - Why GPT-5 and not Claude? The co-author question (02:58) - Is this a joke? The Chautauqua origin story (05:09) - The Refik Anadol distinction: collaboration vs. fraud (07:57) - From the genome to the moral code: why collaborate with AI (08:54) - What is Chautauqua? The six-thousand-person standing ovation (09:53) - Moses's problem: the biblical 10 commandments examined (12:48) - Sam Altman and the Ronan Farrow piece (14:00) - Advanced praise from the Vatican and a leading reform rabbi

Luxa https://linktr.ee/LuxaStrata welcomes Michael Metatron Girard from Enochian Today https://enochiantoday.wordpress.com/ and author of the new book, Enochian Magic: An Introductory Guide, back to the show to talk about the Power in a Name, possible Risks and Rewards of using a powerful system like Enochian and how the approach to Enochian laid out in Michael's book is different than those which are informed by or based on the work that the Golden Dawn. Also discussed is Michael's work as a Certified Astrological Consultant. Luxa also shares an update about The Green Mushroom Project https://greenmushroomproject.com/ and Void House- creating consent centered magical spaces for conducting group work both in person and online, investigating the magical and alchemical properties of consent, and providing consent education to magically inclined people. Thanks for listening to the Lux Occult Podcast! Support the show by helping Luxa buy books and curtail other costs, as well as taking a bibliomancy break by giving on Patreon: https://www.patreon.com/luxoccult . Or, Buy Me a Coffee.com is an option for a one time donation: https://www.buymeacoffee.com/luxoccultpod?new=1 We would love to hear from you! Please send your thoughts, questions, suggestions or arcane revelations to luxoccultpod@gmail.com or message on Instagram @luxoccultpod https://www.instagram.com/luxoccultpod/ and on BlueSky https://bsky.app/profile/luxastrata919.bsky.socialCheck out the Lux Occult YouTube Channel:https://www.youtube.com/channel/UCn8n4oQIH1uo08NhMvjjlBMerch! https://www.etsy.com/shop/IlluminIndustriesCommunity Protection Salt Ritual https://docs.google.com/document/d/1Atu6rNWkCSajdF6Fp6KYiMSHk7Sai-6IAlZfopNKFOU/edit?usp=sharing Music for Good: A Mixtape for MN Mutual Aid by Community Aid Network MN (CANMN) https://canmn.bandcamp.com/album/music-for-good-a-mixtape-for-mn-mutual-aidCheck out The Consent Academy https://www.consent.academy/Michael Metatron Girard:Enochian Today: https://enochiantoday.wordpress.com/For astrological consultations: https://skymirror.today/The new book is on Amazon: https://www.amazon.com/Enochian-Magic-Michael-Metatron-Girard-ebook/dp/B0GP9DB775/ (countries other than US will need to search for the title: “Enochian Magic: An Introductory Guide” by Michael Metatron Girard)Referenced in today's episode:Psalm 595A by Luxa Strata from Serpents of Circe: A Manual to Magical Resilience edited by Laura Tempest Zakroff and Ron Padrón https://revelore.press/product/serpents-of-circe-a-manual-to-magical-resilience/Resistance notes created by Claude Cahun and Marcel Moore, c.1940-1944https://www.jerseyheritage.org/research-and-collections/object-in-focus/resistance-notes/Claude Cahun. Brittanica.com https://www.britannica.com/biography/Claude-CahunClaude Cahun (Lucy Schwob).MOMA.com https://www.moma.org/artists/8195The Soldiers With No Name. TheTribuneMagazine.com https://tribunemag.co.uk/2019/07/the-soldiers-with-no-nameLux Occult is produced by Luxa Strata. All Rights Reserved. 2026.

Screenwriters/producers Scott Alexander and Larry Karaszewski have written some of the most offbeat and imaginative movies of the last three decades, including "Ed Wood," "The People vs. Larry Flynt," "Man on the Moon" and "Big Eyes." Gilbert and Frank dropped by Scott and Larry's hotel as the boys prepped for the MOMA premiere of "Big Eyes" to talk about everything from their critically reviled debut film, "Problem Child" (featuring a certain shrill-voiced comedian) to their attempts at a Marx Brothers biopic and an "It's a Mad, Mad, Mad, Mad World" sequel. PLUS: Margaret Keane's existential crisis! Kelton the Cop demands a cameo! Gallagher vs. Gallagher II! “Ed Wood & Bela Lugosi: A Love Story”! And Scott and Larry meet the King of Pop! Learn more about your ad choices. Visit megaphone.fm/adchoices

Books That Matter for Photographers: John Szarcowski and ‘The Photographer's Eye' — The Thing Itself, The Detail, The Frame, Time, and Vantage PointIn this episode of Beyond the Lens, Richard revisits John Szarkowski's 1966 classic The Photographer's Eye for the latest episode in the Books That Matter series. Szarkowski spent nearly thirty years as Director of Photography at MoMA, studying thousands of images across every era and genre. What he discovered was a quiet internal logic that the best photographs share, regardless of style or subject.Richard breaks down all five of Szarkowski's core themes, including the tethering of photography to reality, the power of isolation and detail, and why a camera is, at its heart, an instrument of selection rather than invention.Notable Links: John Szarcowski The Photographer's Eye Beyond The Lens Episode 106: Steven Pressfield and 'The War of Art'  The Thing Itself essay on Substack The Frame essay on SubstackThis episode is brought to you by:Muench Workshops - Photography workshops and expeditions to the coolest places on the planet.Luminar Neo - Try Luminar Neo today at skylum.com, and use promo code "RICHARD" for a 15% discount, just for my listeners.Kase Filters - My listeners can get 10% off the Kase Filters Amazon page when they visit. beyondthelens.fm/kase and use coupon code BERNABE10 Follow Richard Bernabe:Substack: https://richardbernabe.substack.comInstagram: https://www.instagram.com/bernabephoto/Twitter/X: https://x.com/bernabephotoFacebook: https://www.facebook.com/bernabephoto

Spring is here, and there's plenty to do without leaving the city. Arts & Culture Editor Matthew Schnipper chats with us about staycation alternatives to pricey travel destinations, the New Directors/New Films Festival at MoMA and Lincoln Center, and what it's like to show up to a 24-hour Brooklyn techno party in corduroys at 8am. -Got any questions, comments or story ideas? Send us a message at NYCNow@WNYC.org

Three artists who in different ways connect to the Surrealist movement are the subject of this week's podcast. At the Museum of Modern Art in New York, the first major US survey of the full career of Marcel Duchamp since 1973 opens this weekend, before travelling later in the year to Philadelphia. Ben Luke talks to its curators at MoMA, Ann Temkin and Michelle Kuo. A new book, Dorothea Tanning: A Surrealist World, exploring the extraordinary life and work of the Surrealist artist, is published this week by Yale University Press and Ben speaks to its author, Alyce Mahon. And this episode's Work of the Week is Down Below (1940), a painting by another of the great women artists of Surrealism, the British Mexican painter Leonora Carrington. It was made while she was hospitalised in Santander in Spain in the early stages of the Second World War, before her pivotal journey to Latin America. The picture is part of an exhibition at the Freud Museum in London, The Symptomatic Surreal, which also features drawings from Carrington's sketchbooks. We speak to Vanessa Boni, the curator of special projects at the museum, about the work and the show.Marcel Duchamp, Museum of Modern Art, New York, 12 April-22 August; Philadelphia Museum of Art, 10 October-31 January 2027Dorothea Tanning: A Surrealist World by Alyce Mahon, Yale University Press, $45 or £30 (hb)Leonora Carrington: The Symptomatic Surreal, Freud Museum, London, until 28 June 2026 Hosted on Acast. See acast.com/privacy for more information.

[REBROADCAST FROM November 13, 2025] An exhibition at the MoMA celebrates the career of Cuban artist Wifredo Lam, an artist who helped push the boundaries of modernism. Curators Christophe Cherix and Beverly Adams discuss "Wifredo Lam: When I Don't Sleep, I Dream," on view through April 11 2026. Painting is 'The Jungle,' by Wifredo Lam, courtesy of MoMA

This Spring, renowned Mexican artists Frida Kahlo and Diego Rivera are being celebrated by the Museum of Modern Art in a dual exhibition. 'Frida and Diego: The Last Dream,' looks at how Kahlo and Rivera represented a shift in the development of Mexican identity, art, and culture in the early 20th century. The show is presented in conjunction with the Metropolitan Opera, which is presenting 'El Último Sueño de Frida y Diego,' an opera debuting this Spring that explores the relationship between Rivera and Kahlo through a fictional narrative. MoMA worked with the opera's set designer Jon Bausor to create unique setting for the art on view. Bausor discusses the process for designing this exhibit alongside Beverly Adams, MoMA curator of Latin American Art. 'Frida and Diego: The Last Dream' is on view through September 12. Photo by Robert Gerhardt via MoMA

"Lumière, Le Cinéma!" (or "Lumière! The Adventure Continues") is a documentary film directed by Thierry Frémaux, director of the Institute Lumière, of the Lumière Film Festival, and of the Cannes Film Festival. Frémaux serves as a curator and guide through a collection of over 100 short films by Auguste and Louis Lumière and their collaborators, showcasing both well-known and rarely seen works. The film explores the origins of cinema and how the Lumière brothers pioneered filmmaking techniques such as framing, staging, and early narrative storytelling. This curated presentation offers both a historical account of the birth of film and a meditation on cinema's ability to capture reality and imagination. The film highlights the enduring legacy of the Lumières and their foundational impact on the art form. Frémaux was kind enough to spend some time talking with us about his work and experience making the film, which you can listen to below. Please be sure to check out the film, which is now playing at MOMA in New York City from Janus Films. Thank you, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

The New Museum opens its new building this week. And it's doing so with a big show called “New Humans: Memories of the Future,” about how artists rethought what it means to be human through technology. It's a topic on a lot of people's minds. Among the many artists whose visions feature in the show is Christopher Kulendran Thomas. Kulendran Thomas has a lot going on. Aside from the New Museum, he's got another video installation up at the Museum of Modern Art right now, while last fall, his work “Peace Core” showed at Gagosian Gallery in New York. He also runs a project space, Earth, on the Lower East Side in New York and in Echo Park in L.A. Kulendran Thomas's works are complicated. They often feature paintings, inspired by A.I.-generated images. His video installations at MoMA and the New Museum involve deepfake interviews with celebrities like Taylor Swift, Kim Kardashian, or even other artists, together with documentary footage about Sri Lanka, where his family is from. Beneath all these complex parts, Kulendran Thomas is weaving together an ambitious and maybe even unsettling argument, about political systems, philosophy, technology, human creativity, post-human creativity, and where we might be heading in the future—as artists and as a civilization.