Podcasts about pan daijing

#TDBC S2EP5 Chapitre 2 : Lawrence et Pan Daijing Celui où George, Alain, Kante & Bobby parlent de "Hotel Tv" de Lawrence et du "Tissues" de Pan Daijing. #TDBC The Deadbeat Club, le podcast qui parle de mauvaise musique avec bonne foi et de bonne musique avec mauvaise foi. Tous nos chapitres, épisodes, recos, gifs sont sur https://thedeadbeatclub.be/ On est aussi sur tes plateformes de podcasts préférées et sur les réseaux sociaux : https://linktr.ee/deadbeatclub N'hésite pas à mettre des étoiles sur , sur Spotify, à commenter et à partager. Kikiss L'ambiance musicale est fournie par Vincent Claus et Trupp Beats, qu'ils en soient remerciés --- Send in a voice message: https://podcasters.spotify.com/pod/show/fr351d351ric-bodarw351/message

We are back with Pan Dajing. We talk her work(that we love!), about solitude, crypticism, intimate "connection at a distance" and many other digressions into the emotional core of our "spiritual fluid".

Die Brainwashed - Radio Edition ist eine einstündige Show mit Musik von den Künstlern und Labels auf Brainwashed.com. 1. Lee "Scratch" Perry, "Pum-Pum" (Repentance) 2008 Narnack 2. Marissa Nadler, "Bessie, Did You Make It?" (The Path of the Clouds) 2021 Sacred Bones 3. Dummy, "Daffodils" (Mandatory Enjoyment) 2021 Trouble In Mind 4. Topdown Dialectic, "B1" (Vol. 3) 2021 Peak Oil 5. Edward Ka-Spel, "Just Us Toys" (The Great Outdoors) 2021 self-released 6. Sarah Davachi, "Diaphonia Basilica" (Cantus Figures Laurus) 2021 Late Music 7. Tobacco City, "Brother" (Tobacco City, USA) 2021 Scissor Tail 8. Pan Daijing, "The Goat 二月" (Jade 玉观音) 2021 PAN 9. Bendik Giske, "Void" (Cracks) 2021 Smalltown Supersound 10. Nonconnah, "Crossed Out Seasons Of Memory (excerpt)" (Songs For And About Ghosts) 2021 Ernest Jenning 11. Leon Duncan, "Ching" (Fuck A Rosetta Stone for My Brain Waves) 2021 Hakuna Kuala 12. Klara Lewis & Peder Mannerfelt, "Sell Art" (KLMNOPQ) 2021 The Trilogy Tapes * Sendung vom 29. August 2021 # Brainwashed - Radio Edition 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. * http://brainwashed.com

This week, we look at the new releases from FKA Twigs, with "Caprisongs" and Pan Daijing with "Tissues."

After a long hiatus, we are back with our top 100 albums of 2021. Artists featured: Aaron Dilloway and Lucrecia Dalt, Altin Gun, Andy Stott, Arlo Parks, Armand Hammer and the Alchemist, audiobooks, aya, BADBADNOTGOOD, Bastian Void, Bitchin Bajas, Black Country, New Road, Boldy James X The Alchemist, Bruiser Brigade, Caterina Barbieri, Chris Corsano and Bill Orcutt, Chvrches, Circuit des Yeux, Claire Rousay and More Eaze, Colleen Green, Dave, Dawn Richard, Dean Blunt, death's dynamic shroud.wmv, Divide and Dissolve, Dry Cleaning, Eimear Ready and Natalia Beylis, Fake Fruit, Fire-Toolz, Flying Lotus, Gazelle Twin and NYX, Giant Claw, Godspeed You! Black Emperor, Grouper, Guilty Simpson and Gensu Dean, Hausu Mountain and Deathbomb Arc, Jana Rush, Japanese Breakfast, Jaubi, Jazmine Sullivan, Ka, King Woman, Koreless, Kuzu, Leon Vynehall, leroy, Little Simz, Loraine James, Lost Girls, Low, Lukah, Mach-Hommy, Madlib, Mala Herba, Marsha Fisher, Mas Aya, Maxo Kream, Mdou Moctar, MICROCORPS, Moor Mother, Multiform Palace, Murrumur, Nala Sinephro, Neupink, New Mexican Stargazers, Pan Daijing, Parannoul, Pink Siifu, Pino Palladino and Blake Mills, Pom Pom Squad, Pupil Slicer, Rachika Nayar, Rey Sapienz and the Congo Techno Ensemble, Rochelle Jordan, Rosali, RP Boo, Ruth Mascelli, RXK Nephew, Sarah Davachi, Scotch Rolex, Sharkula x Mukqs, Silicone Prairie, Silk Sonic, Slant, Sleaford Mods, Slikback, slowthai, Sons of Kemet, Tears|OV, The Armed, The Bug, Tim Hecker, Tinashe, Tindersticks, Tobaxxo, Torres, Tyler the Creator, Unknown Me, Vince Staples, Wanton Witch

The PAN affiliate talks opera, cooking and solitude. Read more: https://ra.co/exchange/593 @pan-daijing

Sorprese e conferme. Le conferme sono quelle di Loraine James e di Pan Daijing che tornano con due album di alto livello

Episode 533: August 29, 2021 playlist: Lee "Scratch" Perry, "Pum-Pum" (Repentance) 2008 Narnack Marissa Nadler, "Bessie, Did You Make It?" (The Path of the Clouds) 2021 Sacred Bones Dummy, "Daffodils" (Mandatory Enjoyment) 2021 Trouble In Mind Topdown Dialectic, "B1" (Vol. 3) 2021 Peak Oil Edward Ka-Spel, "Just Us Toys" (The Great Outdoors) 2021 self-released Sarah Davachi, "Diaphonia Basilica" (Cantus Figures Laurus) 2021 Late Music Tobacco City, "Brother" (Tobacco City, USA) 2021 Scissor Tail Pan Daijing, "The Goat" (Jade) 2021 PAN Bendik Giske, "Void" (Cracks) 2021 Smalltown Supersound Nonconnah, "Crossed Out Seasons Of Memory (excerpt)" (Songs For And About Ghosts) 2021 Ernest Jenning Leon Duncan, "Ching" (Fuck A Rosetta Stone for My Brain Waves) 2021 Hakuna Kuala Klara Lewis and Peder Mannerfelt, "Sell Art" (KLMNOPQ) 2021 The Trilogy Tapes 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.

This week we talk about a few albums released this month, including work by Orphan Donor, Tongue Depressor, Pan Daijing, and Alessandro Cortini! A note, as well: we'll be off on vacation for the next two weeks. Expect a new episode on July 12! Albums of the Week: Scott: Meshuggah—Koloss JimJam: Fontanelle—Vitamin F

The usual rollercoaster of sounds on this week’s Independent Music Podcast, from The Soft Moon’s Luis Vasquez’s stunning step into releasing music under his own name through to delicate experimental folk from Japan. In the space between there’s dark electro from Italy, abrasive noise from Merzbow-collaborator Kentaro Hayashi, acid from Tel Aviv, the latest on the mesmerising Takuroku label and more. Tracklisting Luis Vasquez – Poison Mouth (self-release, USA) Somachrome – Vague Computers (Periodica Records, Italy) Ben Vince – Riverbed (Group Therapy Collective, UK) Kentaro Hayashi – Peculiar (Opal Tapes, UK) Richard Youngs – As Always After (Takuroku, UK) Adi Yair – 00h61r (Bogoture Records, Colombia) Derya Yıldırım & Grup Şimşek – Ay Dili Dili (Les Disques Bongo Joe, Switzerland) Pan Daijing – Dust 五月 (PAN, Germany) Orca, Attack! – C. M. S. O. (Strategic Tape Reserve, Germany) Kazaho Okabayashi – Crazy Spring (Tanukineiri Records, Japan) Produced and edited by Nick McCorriston.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.ScreamersThis episode is based on a panel discussion with Chus Martínez, Quinn Latimer, Sonia Fernández Pan, Martina-Sofie Wildberger, and Barabara Casavecchia. Sonia Fernández Pan is a (in)dependent curator who researches and writes through art and, since 2011, is the author of esnorquel, a personal project in the form of an online archive with podcasts, texts, and written conversations. She currently hosts the podcast series Feminism Under Corona and Corona Under the Ocean produced by the Art Institute and TBA21–Academy.Martina-Sofie Wildberger is a performance artist working on the power of language, alternative ways of communicating, and the relationship between scribality and orality. Central to her practice is sound, the articulation of words, and the meanings constituted in the act of speaking as well as the poetic quality of language.Barbara Casavecchia is a writer, curator, and educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.ScreamersThis episode is based on a panel discussion with Chus Martínez, Quinn Latimer, Sonia Fernández Pan, Martina-Sofie Wildberger, and Barabara Casavecchia. Sonia Fernández Pan is a (in)dependent curator who researches and writes through art and, since 2011, is the author of esnorquel, a personal project in the form of an online archive with podcasts, texts, and written conversations. She currently hosts the podcast series Feminism Under Corona and Corona Under the Ocean produced by the Art Institute and TBA21–Academy.Martina-Sofie Wildberger is a performance artist working on the power of language, alternative ways of communicating, and the relationship between scribality and orality. Central to her practice is sound, the articulation of words, and the meanings constituted in the act of speaking as well as the poetic quality of language.Barbara Casavecchia is a writer, curator, and educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.LoopIn this episode Mayra A. Rodríguez Castro gives her lecture “Hyena Days,” in which she considers ideas and forms of fragment, continuance, colonial violence, and archive in the work of her chosen ancestors, particularly the exemplary work and life of the Black American lesbian poet and activist Audre Lorde. Her contribution is followed by a conversation with Quinn Latimer, Chus Martínez, and Italian writer, curator and educator Barbara Casavecchia.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.LoopIn this episode Mayra A. Rodríguez Castro gives her lecture “Hyena Days,” in which she considers ideas and forms of fragment, continuance, colonial violence, and archive in the work of her chosen ancestors, particularly the exemplary work and life of the Black American lesbian poet and activist Audre Lorde. Her contribution is followed by a conversation with Quinn Latimer, Chus Martínez, and Italian writer, curator and educator Barbara Casavecchia.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Social ToolsIn this episode Chus Martínez and Quinn Latimer are in conversation with Isabel Lewis, Lynne Kouassi and Sadie Plant.Isabel Lewis is a Berlin-based artist born in Santo Domingo, Dominican Republic. Trained in literary criticism, dance, and philosophy, her work encompasses myriad forms, from lecture performances to workshops, music sessions, parties, hosted occasions, and large-scale artistic/programmatic works like the Institute for Embodied Creative Practices.Lynne Kouassi is a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration. Sadie Plant is a British philosopher, cultural theorist, and author based in Biel/Bienne. In her research and writings, she offers an alternative, feminist account of the history and nature of digital technology, and the influence of psychoactive substances on Western culture.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Alta EgoIn this episode Tessa Mars, a Haitian visual artist living and working in Port-au-Prince, talks about her practice as a performance that is not limited to the living body. The ancestors she is specifically referring to are those heroes of the Haitian Revolution, enslaved peoples who famously rose up against and defeated French colonial rule and the system of slavery there.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Alta EgoIn this episode Tessa Mars, a Haitian visual artist living and working in Port-au-Prince, talks about her practice as a performance that is not limited to the living body. The ancestors she is specifically referring to are those heroes of the Haitian Revolution, enslaved peoples who famously rose up against and defeated French colonial rule and the system of slavery there.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DancersThis episode is based on a lecture by Barbara Casavecchia, who is a writer, curator, educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy. She is advocating for an embodied and entangled art and politics as found in her recent experience working within a set of queer and trans-feminist archives and collectives in Milan.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DreamersIn this episode Chus Martínez and Quinn Latimer are in conversation with Lynne Kouassi, a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DreamersIn this episode Chus Martínez and Quinn Latimer are in conversation with Lynne Kouassi, a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.Social ToolsIn this episode Chus Martínez and Quinn Latimer are in conversation with Isabel Lewis, Lynne Kouassi and Sadie Plant.Isabel Lewis is a Berlin-based artist born in Santo Domingo, Dominican Republic. Trained in literary criticism, dance, and philosophy, her work encompasses myriad forms, from lecture performances to workshops, music sessions, parties, hosted occasions, and large-scale artistic/programmatic works like the Institute for Embodied Creative Practices.Lynne Kouassi is a Basel-based artist whose works explore the excluding effects of structural dominance and other normative orders, as well as the historical and social conditions that shape the relationship between body, gender, knowledge, and power. Her practice also addresses strategies for escaping control and questions of migration. Sadie Plant is a British philosopher, cultural theorist, and author based in Biel/Bienne. In her research and writings, she offers an alternative, feminist account of the history and nature of digital technology, and the influence of psychoactive substances on Western culture.

Womxn in Motion: The fourth Master symposium in the series Women in the Arts and Leadership, on October 7 and 8, 2020, at the Art Institute at the FHNW Academy of Art and Design in Basel was dedicated to ideas and iterations of performance, and to the way in which its embodied practices—its bodies—are often framed or received by narrow notions not only of gender, race, class, geography, technology, and temporality, but of what performance itself means and entails: a body in motion, for example. Whose body, though, and what kind of movement? Movement, indeed, is always both, suggesting something singular—a body in tender, private effort—and something collective.Presence, proximity, voice, movement, and performative relations are the tools by which many contemporary artists, in unprecedented ways, continue to explore how to create equitable space for our ever-regulated, dully delimited bodies. This symposium served those practices, examining how performance has become the means by which so many artists and thinkers reflect on and denounce political systems that foster inequity, violence, and binary relations at their core. Our various guests made explicit this set of relations—between singularity and collectivity, authenticity and performativity, a language of narrativity both visual and linguistic, movement both physical and intellectual. The complicated desire to perform for others and with others, and to read such performances correctly, was a recurring idea and impulse of the Womxn in Motion symposium, as it continued with performances, conversations, screenings, and readings by artists, thinkers, poets, filmmakers, composers, and teachers—performers all—including Kat Anderson, Julieta Aranda, Barbara Casavecchia, Mayra A. Rodríguez Castro, Pan Daijing, Dorota Gawęda and Eglė Kulbokaitė, Ingela Ihrman, Pauline Curnier Jardin, Bhanu Kapil, Lynne Kouassi, Isabel Lewis, Tessa Mars, Sonia Fernández Pan, Sadie Plant, and Martina-Sofie Wildberger.DancersThis episode is based on a lecture by Barbara Casavecchia, who is a writer, curator, educator based in Milan, and currently mentor of the Ocean Fellowship at Ocean Space, Venice, for TBA21–Academy. She is advocating for an embodied and entangled art and politics as found in her recent experience working within a set of queer and trans-feminist archives and collectives in Milan.

Jess Gillam and composer Jasmin Kent Rodgman share the music they love including Tchaikovsky, Arve Henriksen, Pan Daijing, Ella & Louis and the Penguin Cafe Orchestra. Playlist: Tchaikovsky - Swan Lake - op.20 Act 2, No. 10 (LSO, Andre Previn) Arve Henriksen - Arco Akropolis Ella Fitzgerald & Louis Armstrong - Let’s Call the whole thing off Pan Daijing – Phenomenon Berlioz - Symphonie Fantastique – Un Bal (West-Eastern Divan Orchestra, Daniel Barenboim) Mosseri, Herskedal, Talbot, Marshall - San Francisco (Be Sure to Wear Flowers in Your Hair) Penguin Cafe Orchestra - The Sound of Someone You Love Who’s Going Away and It Doesn’t Matter Shostakovich - Piano Concerto No. 2: II. Andante (Dmitri Shostakovich Jr, I Musici De Montreal, Maxim Shostakovich)

The omnipresence of data, Bandcamp soul/sound-searching, goofy classical. The scientist, artist and community organiser discusses three important albums.

The Chinese experimental artist Pan Daijing's attention to granular detail makes for a deeply absorbing listening experience. Since being an RBMA participant in Montréal in 2016, she's released her acclaimed debut album, Lack, on Berlin label PAN. Other releases include an EP on Dubai’s Bedouin Records and a collaborative 7" with Austrian musician-composer Werner Dafeldecker. Here, she discusses her inspirations, the relationship between sound and emotion, and her approach to composition.

Irgendwo in dem Spannungsfeld zwischen Noise-Musik und Performance, zwischen Avantgarde und Elektro – da befindet sich das Zuhause der chinesischen Musikerin Pan Daijing. Als Vorreiterin einer neuen elektronischen Szene tritt sie im Rahmen des Elektronauten-Festivals in der Elbphilharmonie auf. Moderatorin Vanessa Wohlrath spricht mit ihr über die Herangehensweise an ihre Kunst und über ihr »Fist Piece«, mit dem sie zu Gast in Hamburg ist. Das Elektronauten-Festival widmet sich den Pionieren der elektronischen Musikern, die in den 70er und 80er Jahren auf analogen Synthesizern den Sound der aktuellen Popmusik prägten. Außerdem liegt ein Fokus auf jungen Musikern, die daran arbeiten die Möglichkeiten der elektronischen Musik weiter auszureizen.

"Trollkarlen Och Fageldrakten" by Dungen from Haxen; "Fight at the Quarry" by Shane Gillis from the Spiritus original soundtrack; "Corroded Hymnal" by Clark from Rellik; "Animated Violence" by Oh Sees from Orc; "Tesselation" by Golden Retriever from Rotations; "Lucid Morto" by Pan Daijing from Lack; "Dish 2 Dish" by Shit and Shine from Some People Really Know How to Live; "Anesthesia Love" by Haco from Qoosui; "Ambur" by Demen from Nektyr; "Divisor" by Sollilja from In Looking, Disappears.

"Trollkarlen Och Fageldrakten" by Dungen from Haxen; "Fight at the Quarry" by Shane Gillis from the Spiritus original soundtrack; "Corroded Hymnal" by Clark from Rellik; "Animated Violence" by Oh Sees from Orc; "Tesselation" by Golden Retriever from Rotations; "Lucid Morto" by Pan Daijing from Lack; "Dish 2 Dish" by Shit and Shine from Some People Really Know How to Live; "Anesthesia Love" by Haco from Qoosui; "Ambur" by Demen from Nektyr; "Divisor" by Sollilja from In Looking, Disappears.

"pan is a freak stay away from her but listen to her music" -潘岱静（Pan Daijing）Pan Daijing，来自贵阳，主要做音乐，兼职玩艺术，2014年从柏林来到上海。现为self service幕后主导，主攻表演艺术和黑暗现场，风格为techno,工业及噪音，vol2 begotten将在4月5号重磅推出。每月第一个周四呈现heavy techno，第三个周四呈现dark ambience。所有活动都在shelter进行。在刚结束的jue festival中于民生美术馆为现代舞团slate进行了现场配乐。今年上半年会在柏林厂牌noisekolln下发行首张个人专辑。