Podcast appearances and mentions of neil leonard

A sermon by Neil Leonard based on John 12:20-50 preached on February 16th for the Short North congregation of Veritas Community Church as part of our sermon series called "John: That You May Believe."

Support Night Clerk Radio on PatreonAnnouncement: Ross is going on vacation so this will be the only public episode this month. We may also miss one episode in December. Patreon episodes will continue as expected. Thanks for your understanding.In this episode, we're getting back into some crowd-sourced crate digging. We're scrolling back in time through our Patreon Discord and checking out albums suggested by our listeners. Join us as we discuss 13 albums that cover everything from classic vaporwave to dungeon synth ambient to improvisational jazz and hip hop.Albums DiscussedThe first machine by Infinity FrequenciesTempat Angker: Horror Movie OSTs and Sound FX from Indonesia (1971​​​-​​​2015) by VariousQuiet Storms by DoloreBellow by Witch BoltIn Bloom by Dante LeraeThe Theory Of Premonitions by MabisyoCyanide by CyanBlueCool World by Chat PileSUPER RETROID 2049: DNA Resequenced by below the smokeDRUM MACHINE by Arsenal MikebeAll We Do by RADIOHOPInverted Land by Voyage FuturThe Berklee Sessions by Scanner & Neil Leonard CreditsMusic by: 2MelloArtwork by: Patsy McDowellRoss on TwitterBirk on TwitterNight Clerk Radio on TwitterNight Clerk Radio on InstagramNight Clerk Radio on Bluesky

CITR's 24 Hours of Radio Art in a snack sized format. Dark Ambient. Drone. Field Recordings. Noise. Sound Art. Or something. Tonight's broadcast features more Terence Fixmer, Frank Bretschneider, and digitalsakura, plus Haujobb, Marc Behrens, Michael Grunditz, and new collaborations from Andrea Giordano / Fanny Meteier, Anja Kreysing / Hans Castrup / Philippe Neau, and Scanner / Neil Leonard.

Seguimos abriendo novedades extraordinarias esta semana. Abriremos Atmósfera con los sonidos de Jazz encarnado de Scanner & Neil Leonard. Escucharemos el nuevo single adelanto de lo que será nuevo trabajo de Ulrich Troyer que se publicará a finales de este año y aunque nos alejaremos un poco de la electrónica más densa, queremos compartir con nuestros atmósferos el nuevo sencillo del dúo Laikka. Además nos acompaña en Atmósfera el artista Nims, que nos presentará los nueve temas que componen su nuevo trabajoEscuchar audio

Episode 700: June 23, 2024 playlist: Mark Spybey and Graham Lewis, "Castle Neptune (Single Mix)" (Castle Neptune) 2024 Emergency Hearts Brian Gibson, "Mica II" (Thrasher (Original Soundtrack)) 2024 Thrill Jockey Sote, "WVTADTSSPXDAMAVAND" (Sound System Persepolis) 2024 Diagnoal Scanner and Neil Leonard, "Muster Assemblage" (The Berklee Sessions) 2024 Alltagsmusik Susumu Yokota, "Kinoko (2024 Remaster)" (Acid Mt. Fuji (Remastered 30th Anniversary Edition)) 1994 Sublime / 2024 Music Mine Eleven Pond, "Watching Trees" (Bas Relief (2024 Remaster)) 2024 Dark Entries Frederic D. Oberland / Gregory Dargent / Tony Elieh / Wassim Halal, "YouGotALight" (SIHR) 2024 Sub Rosa Yellow Swans, "Side A (excerpt)" (Out Of Practice I) 2024 Collective Jyrk Skee Mask, "7AM At The Rodeo" (Resort) 2024 Ilan Tape Midwife, "Killdozer" (No Depression in Heaven) 2024 The Flenser Email podcast at brainwashed dot com to say who you are; what you like; what you want to hear; share pictures for the podcast of where you're from, your computer or MP3 player with or without the Brainwashed Podcast Playing; and win free music! We have no tracking information, no idea who's listening to these things so the more feedback that comes in, the more frequent podcasts will come. You will not be put on any spam list and your information will remain completely private and not farmed out to a third party. Thanks for your attention and thanks for listening.

Meditation for Station 2: Betrayal. Jesus is betrayed by Judas and arrested. *Music: Les Petits Chanteurs de Montigny: O Bone Jesus; Violin by Neil Leonard

Meditation for Station 2: Betrayal. Jesus is betrayed by Judas and arrested. *Music: Les Petits Chanteurs de Montigny: O Bone Jesus; Violin by Neil Leonard

This week on StoryWeb: Alfred Stieglitz’s photographs The Terminal and Winter, Fifth Avenue. In the 1890s, as Alfred Stieglitz was beginning his career, photographers were fighting for artistic recognition. Photographers who wanted to go beyond “mere” journalism or documentary photography had to show their critics the value of their “mechanistic” art. Photographers like Stieglitz were trying to prove to skeptics that the camera could be used not only as a journalistic tool (as Jacob Riis used it in How the Other Half Lives) but that photographs could also have value as art. Stieglitz was unquestionably the leader of the movement to gain artistic recognition for photography. A pioneer in subject matter, technique, and treatment, Stieglitz shot many “firsts,” among them the first snow photograph, Winter, Fifth Avenue (shot in 1893), the first rain photo, A Wet Day on the Boulevard [Paris] (taken in 1894), and the first night shot, Reflections – Night [New York] (created in 1896). In 1897, Stieglitz published Picturesque Bits of New York, a volume of his New York scenes; it sold for the then-whopping price of $15. Stieglitz was concerned with both seeing life as it was and interpreting it morally. Scholar Doris Bry says of him: “To define and fix a moment of reality, to realize the potential of black and white, through photography, fascinated Stieglitz.” But objectivity to Stieglitz was not enough. In a 1908 article in the New York Herald, Stieglitz stressed the importance of the “personal touch” and the “individual expression” of the artist. He said, “I saw what others were doing was to make hard, cold copies of hard, cold subjects in hard, cold light. . . . I did not see why a photograph should not be a work of art, and I studied to make it one.” Though Stieglitz hailed from Hoboken, New Jersey, New York was his adopted city. As Bry says, “he came to love [the city], it became home to him.” Art critic Neil Leonard says, “Stieglitz’s photographs of these years held strong emotional meaning for him, yet they realistically captured . . . the sights, rhythms, and moods of the city.” Two of Stieglitz’s New York photos are particularly compelling to me, both shot in 1893: The Terminal and Winter, Fifth Avenue. Stieglitz said, “From 1893 to 1895 I often walked the streets of New York downtown, near the East River, taking my hand camera with me.” According to The Metropolitan Museum of Art, Stieglitz’s small Folmer and Schwing 4 x 5 plate film camera was “an instrument not considered at the time to be worthy of artistic photography.” Stieglitz threw away his “unwieldy” 8 x 10 view camera and its tripod, choosing the 4 x 5 camera, which, says The Met, “gave [him] greater freedom and mobility to roam the city and respond quickly to the ever-changing street life around him.” The Terminal was captured at the southern end of the Harlem streetcar line, which traveled up and down Fifth Avenue. One day, said Stieglitz, “I found myself in front of the old Post Office. . . . It was extremely cold. Snow lay on the ground. A driver in a rubber coat was watering his steaming car horses. How fortunate the horses seemed, having a human being to tend them. The steaming horses being watered on a cold winter day, the snow-covered streets . . . [expressed] my own sense of loneliness in my own country.” In another description of The Terminal, Stieglitz said, “I used to walk around the streets disconsolately, until one night during a blizzard, I happened to see a man, watering a couple of horse-car horses, and I thought, ‘Well, there at any rate is the human touch; ‘ that made me feel better.” Of the same incident, Stieglitz told biographer Dorothy Norman, “There seemed to me to be something closely related to my deepest feeling in what I saw . . . and I decided to photograph what was within me.” Winter, Fifth Avenue was taken the same year, also with a 4 x 5 box camera. Journalist and novelist Theodore Dreiser, who was heavily influenced by Stieglitz, said of this photograph: “The driving sleet and uncomfortable atmosphere issued out of the picture with uncomfortable persuasion. It had the tone of reality.” What seems to have impressed Dreiser most about Stieglitz’s photography, however, was the huge amount of time and effort Stieglitz took in making the final prints. Patience was necessary at all stages: setting up the scene, working with the negative, making the print. Indeed, according to The Art Story website, Stieglitz “stalked Fifth Avenue for three frigid hours waiting for the perfect moment.” Stieglitz himself told the story this way: On Washington’s birthday in 1893, a great blizzard raged in New York. I stood on a corner of Fifth Avenue, watching the lumbering stagecoaches appear through the blinding snow and move northward on the avenue. The question formed itself: could what I was experiencing, seeing, be put down with the slot plates and lenses available? The light was dim. Knowing that where there is light, one can photograph, I decided to make an exposure. After three hours of standing in the blinding snow, I saw the stagecoach come struggling up the street with the driver lashing his horses onward. At that point, I was nearly out of my head, but I got the exposure I wanted. Often, the negatives produced were discouraging. Such was the case with Winter, Fifth Avenue, the original negative of which was so blurry that a fellow photographer said, “For God’s sake, Stieglitz, throw that thing away.” But Stieglitz focused on a portion of the negative that he felt was usable and managed to manipulate it in the darkroom until he got what he wanted. The result is a stunning photograph indeed. Good overviews of Stieglitz’s work can be found at The Metropolitan Museum of Art website and the PBS American Masters website. The New York Times review of “Alfred Stieglitz New York,” a 2010 exhibit at the Seaport Museum, offers additional insights into Stieglitz’s depictions of his adopted city. Books you might want to add to your collection include Alfred Stieglitz: Masters of Photography Series (which features The Terminal on the cover) and Alfred Stieglitz: Photographs & Writings. Alfred Stieglitz: A Biography offers a comprehensive look at Stieglitz’s immense influence on photography. To explore the artistic connections between Stieglitz and his wife, painter Georgia O’Keeffe, check out Two Lives: A Conversation in Paintings and Photographs – and to learn more about their personal lives, dip into My Faraway One: Selected Letters of Georgia O’Keeffe and Alfred Stieglitz. Visit thestoryweb.com/Stieglitz for links to all these resources and to watch the PBS American Masters episode: “Alfred Stieglitz: The Eloquent Eye.” Tune in next week for an exploration of Stephen Crane and his journalistic essays about New York life during the 1890s.

As artistic director of the Berklee Interdisciplinary Arts Institute (BIAI), Neil Leonard guides students in collaborations with artists working in every medium imaginable.

Adam Renn Olenn | January 23, 2014 Originally from Falkirk, Scotland, Jason Lim ’13 is a polymath in the finest Berklee tradition. An accomplished violinist, guitarist, drummer, inventor, and recording engineer, he is equally comfortable on both sides of the sound board and soldering iron. Lim distinguished himself at Berklee as part of the Berklee Interdisciplinary Arts Institute, where he traveled internationally under the tutelage of artistic director Neil Leonard, putting his technical and musical skills to work realizing a wide array of interdisciplinary arts projects. He has founded a company with fellow alumnus Andrew Ikenberry ’13 to build and sell the Nebulae, their proprietary modular synthesizer, and continues to work on his own music.

Guest artist Neil Leonard describes his motivation for working with electronics, and plays samples of his work. He covers collaboration, site-specific work, audio processing software (SPEAR), found sounds, and sound libraries.

This concert features saxophonist Neil Leonard and trombonist Robin Eubanks, each performing solo with live electronics, and then in a final duo.