Podcasts about naqoyqatsi

We're thrilled to welcome our next guests on the show: the Music Director and General Manager of the The Philip Glass Ensemble, Michael Riesman and Andrew Sterman. They're returning to The Town Hall on April 19 for a live score accompaniment to Godfrey Reggio's NAQOYQATSI (2002). In the last couple of years they also performed the first entries to the Qatsi trilogy at the Town Hall: KOYANNISQATSI (1982) and POWAQQATSI (1988). ✨Follow The Philip Glass Ensemble on Instagram✨Follow The Town Hall on Instagram

While the first two films in Godfrey Reggio's Qatsi Trilogy were built on filming in particularly locations, in Naqoyqatsi, the image itself becomes the location as editor and "digital cinematographer" Jon Kane takes us into the simulation that is modern life. Unfortunately, like the early unused setpiece footage from Koyaanisqatsi, the tech here has not aged well, though this time Reggio doesn't seem to realize its cheesiness. Sadly, we lost take one of this conversation and Jonathan Hape was not able to join us for the re-recording. He added a lot to our discussion of the first two Qatsi films, and we wish it could have worked out. You should still go to https://www.jonathan-hape.com/ and check out his music.

Train — Substantial — The aims of this podcast — Monty Python's Flying Circus — Village idiot sketch with John Cleese — Providing a useful service — An effect behind the surface effects — Writing sketches also for or featuring the others — Introducing the next topic — The themes of mystery, hope, and love — “Platitudes” — Shorthand for something less damning? — Troubling — A sickness of thought — Authentic realities — Love or not? — A creator who absolutely believes in love and mystery — David Lynch — Wild at Heart (1990) — Earlier mention of this film in season 4 — The Wikipedia article — Nicolas Cage and Laura Dern as Sailor Ripley and Lula — Mystery, love, hope — Barry Gifford's novel Wild at Heart: The Story of Sailor and Lula (1990) — Hope and the ending of the story — Things work out — The love of Sailor and Lula — Their own world — In love, devoted to each other, and into each other — Important in any romantic love — Getting off on each other — Mr. Lynch's clear belief all along — Twin Peaks (1990–1992) — Blue Velvet (1986) — Film critic Roger Ebert's comments on Wild at Heart — Misunderstanding — He had taken the film to be parody and satire — No, presented without guile — Eraserhead (1977) — Leaving Dune (1984) out of the discussion — More Frank Herbert's creation — No interest in seeing the new film — Plastic and oil — Side track, main track — Icons and iconography vs. living, conscious, evolving, human beings — Mr. Lynch was into all of it — No parody, no satire — It's a love story — Humour also — No dishonest moments — Trilingual (Finnish, Swedish, English) announcement (Jämsä) — Twin Peaks season 3 (2017) — Twin Peaks: Fire Walk with Me (1992) — Evolving understanding of “mystery”, “mysticism”, “mystic” — Murder mystery — Mystification — Nature mysticism — Direct experience of something — Problem about talking about these things — Anecdote about speech and experience — Being taken out of the moment — Failed communication — Deflated moments — Beyond words — Words and deeper feelings — Language came after — Its limits — Experiences beyond language — Acknowledging my contradictions — Walt Whitman on contradicting oneself — “I contain multitudes.” — A matter of authenticity and of compatibility — Lifelines — Fresh air, water, wood, the sky… — Forgot to mention stone (earth) — Shoulder bag as pillow — Grounding element — My rock collection once upon a time — Eventually let go of it — Who owns rock? — Downsizing — Owning stuff as a mental and physical burden — Hoarders — Back into nature — The hippo stone — Playground sandbox — The four elements as a principle applicable to both art and life — Philip Glass — Koyaanisqatsi — Director Godfrey Reggio — The Qatsi trilogy — Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002) — The basis or bases of all matter — Something missing? — Balancing the elements — Applies vastly — Differing ratios — An ideal balance — A matter for intuition — Many works these days try to be all earth and fire — None of the creative arts? — Water, fluidity — This understanding goes back to our earliest art — Prehistoric cave art — Discussions between Pierre Estève (much more knowledgeable than me on this) and me — Monolingual (Finnish) announcement (Orivesi) — Creative record — Already an understanding of the four elements — Elegance a very advanced quality — Pablo Picasso — Panoramas and layouts — Disclaimer about personal ignorance — Later in time — Not an expert — Philip Glass and Samuel Beckett — Letting go of things tiring or even nauseating — Burdens of the past — The elements applied to our own places of living — A tool for troubleshooting daily life — Balcony drenched with fresh air — Phone alarm — Bathing in fresh air — Bath tub — Perfecting the elements — Good sleep — Journey ending — Returning

Opowiadam o filmach "Koyaanisqatsi" (1982), "Powaqqatsi" (1988) i "Naqoyqatsi" (2002) w reżyserii Godfreya Reggio. Partnerem odcinka jest Festiwal Mediów Człowiek w Zagrożeniu.

In this episode of Inside the Box, Trevor and David discuss Godfrey Reggio's The Qatsi Trilogy, featuring the films Koyaanisqatsi (1983), Powaqqatsi (1988), and Naqoyqatsi (2002).

Synopsis In 2002, film director Godfrey Reggio released his latest movie.  Entitled Naqoyqatsi – the Hopi word for Life as War – this was Reggio's third and final installment in a trilogy of unusual, non-narrative films, all with Hopi titles, each comprised of visually striking, collage-like visuals set against hypnotic film scores by American composer Philip Glass. Naqoyqatsi may have been a non-narrative film, Reggio described his 2002 film as a symphony in three movements, and even provided descriptive titles: Movement 1 - Language and place gives way to numerical code and virtual reality; Movement 2 - Life becomes a game; Movement 3 - A world that language can no longer describe.Fast forward ten years to 2012, when Glass had been commissioned to turn hisNaqoyqatsi film score into a concert work for cello and orchestra.  In the film score, solos played by the famous cellist Yo-Yo Ma featured prominently, so this “repurposing” of film score seemed a logical step. And so, on today's date in 2012, Philip Glass's Cello Concerto No. 2, subtitled Naqoyqatsi, received its premiere performance with the Cincinnati Symphony conducted by Dennis Russell Davies and Matt Haimowitz as the cello soloist. Music Played in Today's Program Philip Glass (b. 1938) Cello Concerto No. 2 (Naqoyqatsi) Matt Haimovitz, cello; Cincinnati Symphony; Dennis Russell Davies, conductor. Orange Mountain Music CD 0087

Three films by Godfrey Reggio and Philip Glass present wordless imagery and music to send a cosmic warning about civilization’s imbalance, exploitation, and destruction. The meanings that we access through works of art are not confined to the conscious intentions of the artists. This critical truth came to mind while watching The Qatsi Trilogy—three films directed by Godfrey Reggio, and scored by Philip Glass. These are films without any talking, just imagery and music. The only text comes at the end, when the odd-sounding film titles are explained. Philip Glass's music is an essential component. It’s not the usual situation where the music accompanies a narrative, or helps illustrate it. The music is united to the visuals as if they were one thing. I know people who are maddened by Glass’s music, which is characterized by a lot of repetition. But here it aligns the viewer’s attention and emotions with the images. The repetitive motifs help the mind let go of the scattered, wandering forms of attention that can be habitual for us. Koyaanisqatsi, from 1982, starts with shots of nature in awe-inspiring aspects: mountains, canyons, deserts, and so on, with human beings conspicuously absent. Eventually we shift to footage of modern civilization, and in comparison to nature these images seem bizarre and outlandish. Two techniques comprise most of the film: slow motion and fast motion. The fast motion is actually time-lapse photography: footage of events that take hours or even days appearing to take place in just minutes. The movement of vehicles, traffic zipping through huge highway systems, masses of people, colossal buildings in major cities and the traffic within those cities: time-lapse photography takes away the familiarity of these things and makes them seem alien. In purely visual terms, the images are astounding, weird, beautiful, yet disturbing. Slow motion is used when we are looking at things more close up, especially people. Watching the movement of a crowd in slow motion, the familiar is once again supplanted by the sensation of strangeness. These beings, in the way they move, the way they avoid each other’s gaze, evoke questions and doubts about human nature, our striving and seeking, our ignorance and mortality. Powaqqatsi, from 1988, refrains from time-lapse photography, but it still uses a lot of slow motion. Here the footage is from the lands of non-European people. First we see traditional forms of work such as planting. Then civilization shows up. Instead of fairly well-dressed folks we see a much poorer populace. Modernity has conquered this non-white world, but it hasn’t helped the people. Here’s the theme of injustice and exploitation, and one’s heart hurts more watching this than it did during the more alienated first film. Naqoyqatsi was released in 2002, after a gap of thirteen years. Why this long delay I don't know. The film uses graphics, animation, and rotoscope photography to visualize the mind realm, the world of thinking and science. The mathematical and geometric designs become like a relentless drum beat of “progress.” Eventually the rhythm becomes the marching of soldiers, the creation of weapons, guns firing and the detonation of bombs. It shows the cleverness of humans serving the expansion of war. One thing that makes The Qatsi Trilogy difficult is that it seeks to evoke the impersonal as the source of meaning in the modern world. This

Godfrey Reggio, director of the Qatsi Trilogy (Koyaanisqatsi, Powaqatsi, Naqoyqatsi), Anima Mundi, Evidence, Visitors, and many others, joins us to speak about his life and journey as a filmmaker. Also, Parry completely geeks out speaking with someone who changed his perceptions of film, society, and Twinkies*. *A deep cut Koyaanisqatsi reference not actually mentioned in this interview. But if you know, you know.

This week Jedediah interviews friend of the pod, Brady about a favorite Prince bootleg. Also we go to another Indianapolis Soul Food Restaurant and Jed tries to convince Paul to watch Naqoyqatsi. Spoiler alert: It goes great.

Renowned cellist Katinka Kleijn is featured in Philip Glass' Cello Concerto No 2, derived from his score for Godfrey Reggio's film "Naqoyqatsi." The Symphony is under the baton of Steven Schick. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34637]

Renowned cellist Katinka Kleijn is featured in Philip Glass' Cello Concerto No 2, derived from his score for Godfrey Reggio's film "Naqoyqatsi." The Symphony is under the baton of Steven Schick. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34637]

Katinka Kleijn – champion of new music and a member of the Chicago Symphony – is soloist in Philip Glass’ graceful Second Cello Concerto, drawn from his score to the film Naqoyqatsi. The concert concludes with one of Anton Bruckner’s most compact and attractive symphonies, dedicated to Wagner and full of Bruckner’s glorious writing for brass. Emerging composer LJ White adds to the fun with a new work commissioned by the La Jolla Symphony & Chorus. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34004]

Katinka Kleijn – champion of new music and a member of the Chicago Symphony – is soloist in Philip Glass’ graceful Second Cello Concerto, drawn from his score to the film Naqoyqatsi. The concert concludes with one of Anton Bruckner’s most compact and attractive symphonies, dedicated to Wagner and full of Bruckner’s glorious writing for brass. Emerging composer LJ White adds to the fun with a new work commissioned by the La Jolla Symphony & Chorus. Series: "La Jolla Symphony & Chorus" [Arts and Music] [Show ID: 34004]

The grand combination of Godfrey Reggio's thoughts, Philip Glass' music and Ron Fricke's cinematography make this film not only an emotional learning experience, but powerful cinema. Often copied, but never equally, even by its two companion pieces "Powaqqatsi" and "Naqoyqatsi," "Koyaanisqatsi" screams out wordlessly about the chaotic and ultimately destructive way of life here on Earth.

Samsara je dokument od režiséra Rona Fricka, zachytávajúci krásu a strašnosť toho majestátneho kameňa, na ktorom lietame vesmírom. Viac ako film je Samsara meditatívny, kontemplatívny zážitok. Žiadne slová, žiadne hlasy, len hudba a obraz. Nižšie v článku sú odkazy na podobné filmy, v celej dĺžke. Osadenstvo: @yablko, @courage246 00:00 – 19:00   Samsara 19:00 – 27:11   Amsterdam, couragove zážitky z Holandska. A space cake. Pozri si Frickov predošlý film Baraka, v celej dĺžke. HD style. A pokračuj na Koyaanisqatsi a daj si Powaqqatsi a skús Naqoyqatsi. Yup.

Estamos de volta no primeiro Batendo Papo na Masmorra de 2011! E dessa vez Angélica Hellish e Marcos Noriega recebem na Masmorra Daniel, o maldito do site (em construção) Caoticagem recomendando o excelente terror francês Martyrs, Monique Freitas do All Day I Dream Abut Sex falando do horror tailandês The Maid, Edu Cosso do Destino Poltrona que assistiu a paródia de tokusatsus do grande Takashi Miike Zebraman, Juliano D'Angelo do Rapaduracast que recomendou o fantástico Baraka de 1992, que nos trouxe recordação da Trilogia Qatsi (Koyaanisqatsi,Powaqqatsi,Naqoyqatsi ) , e o filme do Hitchcock Ladrão de Casaca. O Marcos comentou o filme A garota da Fábrica de Fósforos do premiado Aki Kaurismaki. No mais eu Angélica, recomendei o belo A Casa Vazia do diretor Kim Ki-duk. Depois fiquei sabendo pelo twitter que o interesse romântico do protagonista e nada mais, nada menos que Lee Seung-yeon a bela "Sun" da série Lost. É isso aí comente, divulgue! Toda força ao cinema alternativo. A demora para esse lançamento ocorreu devido aos muitos problemas no audio da gravação e a troca de editor. Então saudações ao Daniel Volponi editor desse projeto Batendo Papo na Masmorra!  Nosso email: contato@masmorracine.com.br Siga-nos no twitter: Masmorra Cast Feed|Facebook|Twitter|Instagram|Padrim Inscreva-se no nosso canal no Youtube: O vídeo vai sair por lá! CLIQUE AQUI IMPORTANTE! Gosta do nosso trabalho e quer que ele continue? Doe via PIX! Nossa chave é pixmasmorracine@gmail.com ou seja nosso padrinho ou madrinha nos apoiando no Padrim ou no Colabora aí.  Ajude a manter os podcasts independentes, como o nosso no ar, apoie. Musicas Utilizadas If I ever feel better - Phoenix Watch the world Burn - Hans Zimmer Blood on My Hands - Hans Zimmer Lisztomania - Phoenix Fools Rush In (Kevin Shields Remix) - Bow Wow Wow Aphrodisiac - Bow Wow Wow Pulling our Weigh - The Radio Dept. Love like a sunset - Phoenix Broken Vows / A Prayer of Kala Rupa / An Doarach Bheag - Michael Stearns African Journey - Michael Stearns Monk With Bell - Michael Stearns Ask Me Anything - The Strokes She's My Baby - The Mojo Men Shibuya - Brian Reitzell & Roger J. Manning Jr. Alone in Kyoto - Air Too Young - Phoenix You Showed Me - The Turtles Volare - The Mcguire Sisters Something About Us - Daft Punk Hard To Explain - The Strokes Party Time - Phoenix I Want Candy (Kevin Shields Remix) - Bow Wow Wow  

Music from and inspired by film. Featuring the Philip Glass soundtracks to "Koyaanisqatsi", "Powaqqatsi" and "Naqoyqatsi", and Richard Einhorn's "Voices of Light" oratorio, based on the 1928 silent masterpiece "The Passion of Joan of Arc".

Music from and inspired by film. Featuring the Philip Glass soundtracks to "Koyaanisqatsi", "Powaqqatsi" and "Naqoyqatsi", and Richard Einhorn's "Voices of Light" oratorio, based on the 1928 silent masterpiece "The Passion of Joan of Arc".