Podcasts about pompidou centre

Send us a textMartin Parr opens a window into his extraordinary five-decade career documenting the eccentricities of British life and leisure, revealing the philosophy that has made him one of the world's most celebrated documentary photographers.Taking us behind his lens, Parr shares how finding himself "in the right place at the right time" led to his breakthrough project "The Last Resort" in New Brighton during the 1980s – a collection so enduring it's now in its seventh edition. With refreshing candor, he confesses that most of his photographs are "rubbish" and considers himself fortunate to capture ten good images annually, highlighting the relentless pursuit of quality that defines true mastery.Parr's unique ability to create photographs that provoke "ambiguous emotional reactions" – where viewers "are unsure whether to laugh or cry" – reveals the subtle power of his documentary approach. While acknowledging criticism of his work, his substantial following (700,000+ Instagram followers) and exhibitions in prestigious institutions worldwide, including the Tate, Pompidou Centre, and Museum of Modern Art, confirm his profound impact on contemporary photography.Beyond his personal achievements, Parr's commitment to preserving photographic heritage shines through his foundation, which houses not only his extensive archive but also collections from other British documentary photographers, alongside approximately 5,000 photography books. This cultural repository, combined with his mentorship of emerging talent, ensures his influence will extend far beyond his own remarkable body of work.What truly emerges from this conversation is Parr's infectious enthusiasm for finding magical moments in mundane settings. "I'm happiest in a cliché," he admits, revealing how church village fetes and seaside holidays become portals to understanding British identity through his discerning eye. His legacy? "The folio of photos I've built up – an archive of my time in Britain over the last 50 years." A cultural treasure capturing our shared history one extraordinary ordinary moment at a time.Tune in next week for more stories of 'Distinction & Genius' from The Good Listening To Show 'Clearing'. If you would like to be my Guest too then you can find out HOW via the different 'series strands' at 'The Good Listening To Show' website. Show Website: https://www.thegoodlisteningtoshow.com You can email me about the Show: chris@secondcurve.uk Twitter thatchrisgrimes LinkedIn https://www.linkedin.com/in/chris-grimes-actor-broadcaster-facilitator-coach/ FaceBook Group: https://www.facebook.com/groups/842056403204860 Don't forget to SUBSCRIBE & REVIEW wherever you get your Podcasts :) Thanks for listening!

Paris's status as a cosmopolitan hub for artists from all over the world was forged in the 20th century, particularly in the postwar period, when it was seen as a beacon for Black artists and intellectuals fleeing colonisation, racism and segregation in their countries of origin. The "Paris Noir" exhibition at Paris's Pompidou Centre is now exploring that pivotal moment when the French capital served as a crossroads for the major Black figures who were debating and designing a post-colonial future. The show features 350 works by 150 artists of African heritage – many of whom have been historically sidelined or forgotten – in an attempt to re-write these "unrecognised and fundamental" contributions into a more complete history of art. In this programme, we meet American musician and composer Josiah Woodson, whose move to Paris 12 years ago broadened his artistic horizons, collaborating with artists from West Africa and the Caribbean. He tells us why author James Baldwin was a "major poetic and ideological inspiration" in his own trajectory, and why stepping into the footsteps of legendary trumpet players like Miles Davis was an important part of his transatlantic shift. Author and journalist Yasmina Jaafar explains why African Americans, in particular, chose Paris in the context of 1940s geopolitics and cultural trends.The growing popularity of jazz was one of the major draws for the many Black musicians who performed in Paris in the post-war years. One of the key venues in that effervescent scene was Le Bal Blomet: established in 1924, it is the oldest jazz club continuously operating in Europe today. Its director, Guillaume Cornut, tells us how the local Martinican community would organise informal concerts and gatherings in the 1920s, which gave rise to its nickname "Le Bal Nègre", and how the dancehall became renowned for the diversity of the music on offer.Historian Ludovic Tournès explains how differing attitudes to jazz in the United States and Europe meant that many African American musicians were keen to pursue their careers in Paris, where audiences and music industry figures demonstrated a respect and appreciation for the art form that stood in stark contrast to the reception many of these performers got in the segregated states of the American South.We meet Kévi Donat, whose guided tours of "Paris Noir" reveal the Black politicians, artists and writers who have been integral to the history of both Paris and France, but who have not always gone down in history to become household names. Kévi shines a light on some of the racist struggles that even a celebrated author like Alexandre Dumas came up against, and how a conference at the Sorbonne in 1956 distilled the growing consciousness of a "Panafrican" movement, uniting various Black communities on three continents.Artist Valérie John tells us why leaving her island of Martinique was a pre-requisite in the 1980s as she pursued her studies at art school in Paris. Having been commissioned to create a site-specific installation for the "Paris Noir" show, Valérie expands upon the concept of a Black Atlantic, and the potent symbolism this expanse of water evokes, explaining how the legacy of the slave trade has informed the Black experience in all of the colonies established at its edges.Finally, Alicia Knock, a curator of modern and contemporary art, discusses her efforts to fill a "major gap" in the Pompidou collection by putting together the "Paris Noir" exhibition and pushing for the acquisition of at least 50 of the pieces on display. She explains why the inclusion of these artworks will open a new chapter in the museum's history once it opens again in 2030, after the 50-year-old building undergoes extensive renovations.

Join us as we explore the heated discussions around the newest "Assassin's Creed" video game, praised for its beauty but sparking debates over character choices and historical accuracy. Plus, discover the incredible rescue of 18th-century French masterpieces from Los Angeles wildfires, now on display near Paris. Finally, don't miss the groundbreaking exhibition at the Pompidou Centre honouring Black artists, before the museum closes for a five-year renovation.

She was an icon of 1990's television; now Pamela Anderson is embarking on a new phase in her career, as she stars in "The Last Showgirl". Film critic Emma Jones sat down with her at the Zurich film festival where they discussed her critically-acclaimed performance as a Las Vegas cabaret performer and how facing her fears is opening up new professional opportunities for the actress. And, we meet London-based artist Lakwena Maciver, whose artwork blends vibrant colours and bold statements. Finally, the Pompidou Centre mothballs its permanent collection before undergoing extensive renovations to the building.

Last week, US President Donald Trump threatened Hamas with “hell” to pay if hostages from the October 7th attack on Israel were not released. Today, Israel's energy minister, Eli Cohen, says the country will now cut its electricity supply to Gaza “immediately.”Also in the programme: Canada's governing Liberal Party prepares to elect a new leader following the resignation announcement of PM Justin Trudeau; the Pompidou Centre in Paris is preparing to close for five years; and after the announcement that female tennis players can get twelve months' maternity leave, tennis star Victoria Azarenka gives us her reaction. (Photo: A tent of internally displaced Palestinians set up next to a destroyed building in the east of Gaza City, 9th March 2025. Credit: Mohammed Saber/EPA-EFE-REX/Shutterstock)

A new exhibition at the Pompidou Centre in Metz is hoping to challenge the Euro-centric principles that have long dominated art history. "After the end. Cartographies for another time" brings together the work of 40 international artists, as they explore alternative visions of our shared future as humans. FRANCE 24's Florence Gaillard spoke to artists and curators there to find out more. We also meet the filmmaker behind a new documentary that puts the ultimate 1990s pop princess under the microscope, as "Britney: No Filter" examines the toxic media frenzy surrounding the young singer and its harmful effect on her wellbeing. A new French psychological thriller, "Out of Control", starring Omar Sy and Vanessa Paradis, upturns a marital idyll and reveals the dark side of illicit romance. Plus we check out Ernesto Neto's serpentine installation in a Parisian department store, as the Brazilian artist blends nature, gender and craft in his monumental work.

This week David and Marina of FAME Architecture & Design discuss Marina's 3 favorite buildings. They touched on Farnsworth House's radical design; building code and modern architecture; Frank Lloyd Wright's work; the Pompidou Centre; beauty in architecture; architecture juxtaposition; buildings in winter; and more. This episode is supported by Integrated Projects • Enscape • Autodesk Forma & Autodesk Insight • Programa SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Office  • Instagram • Facebook  • Call or text questions to 213-222-6950 SUPPORT Leave a review  EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.  •  Project Companion: Informative talks for clients.    •  Fellow Designer: Tips for designers.  •  After Hours: Casual conversations about everyday life. •  Design Reviews: Reviews of creative projects and buildings. The views, opinions, or beliefs expressed by Sponsee or Sponsee's guests on the Sponsored Podcast Episodes do not reflect the view, opinions, or beliefs of Sponsor.  

Mark Farid, a visionary artist and researcher, discusses his provocative projects on digital privacy and surveillance. He shares his experience of giving away all his passwords for six months, aiming to live without a phone or computer, which led to social and financial isolation. Farid also describes "Poisonous Antidote," where he broadcasted all his online activities, revealing personal habits and validating his behavior. His latest project, "Invisible Voice," funded by the European Commission, aims to empower individuals by providing information on companies' environmental impacts, corporate accountability, and more, promoting collective action and influencing external narratives.   In this episode, you will hear: Identity, performance, perception, and the self. The relationship between anonymity, privacy, and agency. Living life as a 23-year-old without a phone or computer. Data privacy and protection, and where the weak points are for you. The cultural changes happening day-to-day and how our technology usage keeps us connected. Solitude, loneliness, and being alone. Being known intimately and continually. The big and small ways to have accountability in our lives. The power of collective action.     Mark Farid is an Artist, Researcher, and Lecturer in Fine Art at Central Saint Martins, University of the Arts London. He specializes in the intersection of the virtual and physical world, and the effect new technologies have on the individual and their sense of self. Farid's work embodies hacker ethics, such as a focus on privacy policies, use of surveillance technologies, and campaigning for data privacy and protection. His work forms a critique of social, legal, and political models.   Farid graduated from Kingston University, London, with a First Class (Hons) degree in Fine Art (2014), and has since given talks and participated in group and solo exhibitions in England, France, Germany, Spain, Denmark, Finland, Slovenia, UAE, and Japan. He gave a TEDx talk in 2017 about his first two projects, “Data Shadow” (2015) and “Poisonous Antidote” (2016). Farid was selected for the Sundance Institute's 'New Frontier' Fellowship in Utah, USA (2016), for his ongoing VR project, “Seeing I”. "Seeing I" was piloted as a solo exhibition at Ars Electronica Digital Arts Festival (2019), and was selected for the European Media Artist Residency Exchange, as part of the Creative Cultures Programme of the European Union (2020/21). In 2022, Farid received European Commission Horizon 2020 research and innovation funding to develop his browser extension, "Invisible Voice”, which was later presented at the Pompidou Centre, FR (2022). In 2023-24, Farid received European Commission ST+ARTS funding to further develop "Invisible Voice" into a mobile phone app, a cross-device platform, and an interactive artwork. This will be exhibited at Ars Electronica Digital Arts Festival, AT (2024).   Farid's projects have been covered by media outlets worldwide. He frequently engages in art and technology conversations appearing on Fox News, Sky News, France24, Arte, BBC Radio 4, BBC 5Live, Times Radio, The Telegraph, The Guardian. In 2021, Farid featured as the contemporary “Surrealist Artist” on “Great British Railway Journeys” on BBC2.   Connect with Mark Farid: Website: markfarid.com Twitter: x.com/MorkForid TedxWarwick:  Data Privacy: Good or Bad? | Mark Farid: youtube.com/watch?v=pKD5rxMonBI   Connect with R Blank and Stephanie Warner: For more Healthier Tech Podcast episodes, and to download our Healthier Tech Quick Start Guide, visit HealthierTech.co and follow instagram.com/healthiertech Additional Links: EMF Superstore: https://ShieldYourBody.com (save 15% with code “pod”) Digital Wellbeing with a Human Soul: https://Bagby.co (save 15% with code “pod”) Youtube: https://youtube.com/shieldyourbody Instagram: https://www.instagram.com/bagbybrand/ Tiktok: https://www.tiktok.com/@bagby.co Facebook: https://www.facebook.com/shieldyourbody

From France's new immersive Viking city to a first look at Paris's restored and spectacular Jacquemart André museum and a celebration of the 100th birthday of the surrealism movement at Paris's Pompidou Centre, arts24 takes you on a trip to some of the best art shows and museums to visit this season. We also meet the toddlers whose art is selling for thousands.

Our team went over to Paris to cover the Paralympic Games, but whilst there, Toby and Paulina decided to step away from sport for a moment and immerse themselves in a bit of modern art. Image shows Toby posing in front of Chopin's Waterloo, a sculpture from 1962 made by artist Arman. Described the Pompidou Centre as "destruction-dislocation" of an upright piano. The scattered pieces of the musical instrument were then reassembled on a panel in a Cubist collage fashion. The panel beneath is a stark red colour and the pieces of the piano are scattered around and out of order, including broken off pieces of wood and strings hanging down.

Playwright Mike Bartlett and theatre director Robert Hastie on their new stage production of Chariots of FireAs preparations are made for a major redevelopment of the Pompidou Centre in Paris, Catherine Croft, Director of the 20th Century Society and Olivia Salazar-Winspear Culture Reporter for France 24 discuss the iconic building.BBC Russian senior reporter Sergei Goryashko on the sentencing of the Russian playwright, Svetlana Petriychuk, and theatre director Yevgenia Berkovich for their production of a play, Finist The Brave Falcon.Jason Allen-Paisant, who has won both the most recent Forward Prize AND TS Eliot Prize for his poetry collection Self-Portrait as Othello reflects on Aimé Césaire's epic poem Return to My Native Land as it is republished by PenguinPresenter: Nick Ahad Producer: Ekene Akalawu

London, and the river that runs through it, is at the heart of the new play London Tide, an adaptation of Charles Dickens' Our Mutual Friend. Ben Power has adapted the novel and co-written original songs with the singer-songwriter PJ Harvey. He tells Adam Rutherford that although it combines the savage satire and social analysis of the original, it is, in essence, a love letter to the capital. London Tide is playing at the National Theatre until 22nd June.The award-winning architect Amanda Levete reflects on the challenges of designing buildings and public spaces in major historic cities around the world – taking into consideration the aesthetics of the built environment, whilst meeting the needs of the community and tackling sustainability.Amanda Levete considers the Pompidou Centre in Paris to be one of the twentieth century's most iconic buildings and an inspiration for her own architectural practice. The journalist Simon Kuper takes stock of his adopted city, as Paris prepares for the Olympics. In Impossible City he explores today's ‘Grand Paris' project which aims to connect its much famed central areas with its neglected suburbs.Producer: Katy Hickman

In 1924, French poet André Breton wrote a short text with fellow poet and compatriot Louis Aragon that was to send ripples through the world of art and literature, providing a blueprint for the avant-garde movements of the 20th century. One century later, we take a look at how the Surrealist Manifesto prompted an intellectual and artistic revolution in 1920s Paris; a statement of intent that was to have repercussions far beyond the French capital in the years that followed. At Paris's Pompidou Centre, curator Didier Ottinger explains how the movement was, at its inception, both political and aesthetic, taking inspiration from Karl Marx and Arthur Rimbaud; he also discusses the charismatic force field that saw Breton steward the movement for four decades.Laurent Doucet, of the Maison André Breton, expands on the role that Freudian psychoanalysis played in the development of the Surrealist Manifesto, and touches on the horrors of World War I, which prompted its authors to break with the past.Since Surrealism's reach also extended into neighbouring Belgium, we travel to the Royal Museum of Fine Arts in Brussels to hear from curator Francisca Vandepitte. The exhibition "Imagine! 100 years of International Surrealism" revisits the movement's origins in Symbolist painting, highlights René Magritte's unique take on the subconscious and includes important pieces from the women who were key contributors to the Surrealist aesthetic.Back in Paris, we visit the studio of artist Marcus Schaeffer, who explains how Surrealist principles infuse his photography, as he uses different techniques to create layered, kinetic images which aim to reveal a deeper truth about his subjects.

En av 1900-talets mest kända fotografer, Henri Cartier-Bresson, verkade alltid vara på rätt plats i rätt sekund. Mikael Timm dyker ner i en efterlämnad bildskatt på Centre Pompidou i Paris, 2014. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Sändes först 12/4 2013.Seklets fotograf. Det är nästan ett osannolikt smeknamn, men sedan Henri Cartier-Bresson avled 2004 har ikonstatusen snarast ökat. Det är nästan så att man kan bli misstänksam. Bara här i radion har det gjorts åtskilliga program om denna fotograf efter hans död.Ordet Reporter betyder bära tillbaka. Cartier-Bresson visade USA för fransmännen, Sovjetunionen för amerikanska tidningsläsare, Indien och revolutionen i Kina för världen. Rimligen borde Cartier-Bressons bilder nu vara nästintill bortglömda, men tvärtom ordnas hela tiden nya utställningar, nya böcker ges ut och gamla dåliga kopior säljs dyrt. Vem har förresten en nyhetsbild över soffan? Nej, det som lockar måste vara något annat än gamla fakta. Dags att problematisera århundradets fotograf.Det avgörande ögonblicket, är ett uttryck som tillskrivs Cartier-Bresson om. Fast det var faktiskt inte hans eget uttryck utan en förläggares. Själv talar han om bilder som uppväcker något. Vilket inte hindrat generationer av fotografer att försöka leva upp till Cartier-Bressons perfekta fras och perfekta bilder. Men här talar han om den visuella njutningen, om Tjechov, om bilden är sann eller inte är oviktigt. Han talar som en konstnär, inte som en reporter.Myten om Cartier-Bresson och de andra på bildbyrån Magnum som han var med om att starta 1947 berättar om ett gäng fotograferande Tintin-kusiner på ständiga äventyr. Sedan dess har härskaror med fotografer sökt sig till slagfält, fattigdom, lidande, revolutioner. För dem alla är förebilden HCB. Ingen reste så mycket, stannade borta så länge – ibland i åratal – kom hem så obekymrad. Och med så bra bilder.Antingen har man det eller så har man det inte. Sade Cartier-Bresson om förmågan att ta en bra bild. Fast så enkelt är det ju inte. Här talade han om visuell njutning – inte precis vad fotoreportrar brukar hänvisa till. Senare i livet sade han att teckning som han också ägnade sig åt var eftertanke, medan fotografi var ögonblicklig. Han beskar bilderna i kameran, när de togs, inte i mörkrummet. Bilden skulle vara perfekt från början. Sensualism kombinerades med stränghet.Erkännandet av en ordning, en struktur som finns där framför Dig, talade Cartier-Bresson om. Alltså en nästan akademisk hållning som han tillämpade sekundsnabbt. Det finns ett snapshot av Cartier-Bresson när han står på podiet och ska ta en bild av Martin Luther King som ska hålla sitt berömda tal ”I have a dream”. Cartier-Bresson ser skeptiskt ut. Ler inte, granskar Dr King som om han vore ett föremål.När han granskade yngre kollegers bilder på Magnum snurrade han kontaktkopiorna i handen och såg bilden ur vinklar fotografen aldrig varit medveten om. Och han talade om bildens formspråk, inte om dess innehåll. Han började som målare, slutade som tecknare. Däremellan var han fotograf. Livet är nu och för alltid. Var kom den känslan ur?Henri Cartier-Bresson, föddes 1908, in i en välbärgad släkt. Fadern som var symaskinsfabrikant ville förstås att sonen skulle ta över företaget, men Henri revolterade – ganska lustfyllt tycks det - genom att läsa modern poesi och ägna sig åt teckning. Han praktiserade aldrig hos någon porträttfotograf som så många av hans kollegor gjorde utan gick i flera år på André Lhotes berömda kubistiska målarkurser. Och samtidigt studerade han för en mycket mer konventionell målare, Jacques Emile Blanche känd för sitt fantastiska ungdomsporträtt av Proust. Vilken fotojournalist har idag en liknande utbildning?Några av HCB:s mest älskade bilder har en lite knasig humor. Två gubbar som tittar genom ett hål i ett skynke på ett bygge. En man på en spårvagn i Zürich som har ett gravkors med sig. Jo, visst. Det är ju klassisk surrealism, men så vardaglig att den inte förknippats med surrealismen utan setts som fotoreportage. Det overkliga draget finns också i de berömda bilderna från Mexiko med en prostituerad som tittar ur genom en dörr. Det är både social verklighet och en symbolbild.När nu fotohistorikerna gått igenom HCB:s samlade verk så är en av nyupptäckterna hur nära surrealismen han stod. Ja, HCB var som tonåring, alltså redan innan målarkurserna, med på surrealisternas berömda möten. André Breton brukade säga att Cartier-Bresson samarbetade med chansen.Cartier-Bresson berättar hur Robert Capa, den berömde krigsfotografen, rådde honom att ligga lågt med sin anknytning till surrealismen. Han skulle ta sina bilder som han ville men kalla det fotojournalism.1931 lämnar han surrealisternas Paris och reser till Elfenbenskusten, en ung man på jakt efter äventyr. Där händer någonting. Han blir på allvar fotograf och kommer tillbaka till Europa med malaria men också med en yrkesinriktning.Redan 1933, när han är 29 år kommer de första utställningarna. Det naturliga vore att nu satsa på en karriär som konstnärlig fotograf som t ex Man Ray. Men trots att utställningarna blir fler så ger sig HCB, som han kallades, ut på resor. I New York träffar han den berömde fotografen Paul Strand som lär honom filma. Och tillbaka i Frankrike blir han regiassistent till dåtidens viktigaste franske regissör Jean Renoir. Och gör några småroller i filmerna, leker verklighet.Allt går så lätt, så lätt.Han beundrade Renoir men ville inte berätta om honom. Hos bägge finns en blandning av sinnlighet och klarsyn, nästan cynism. Med åren blev han alltmer fascinerad av porträttuppdrag: en del bilder är verkligen geniala trots att de inte bygger på djup kontakt. Skulptören Giacometti som springer i regnet med en tidning över huvudet. Ezra Pound, vilande i sitt privata nirvana. Henry Miller på stranden i Kalifornien en mörk kväll. Och så bilden av Sartre som liksom stiger ur dimman med sträng klarhet. Den bilden tog han fort, men han stod en och en halv timme framför Ezra Pound utan att tala med honom.I alla porträtten finns Cartier-Bressons kärna: enkelhet, koncentration. När han på 50-talet åkte med Jean Paul Sartre till Moskva och denne högstämt hyllade friheten i Sovjetunionen fotograferade Cartier-Bresson en mans sätt att titta på en kvinna på gatan, några fabriksarbetskor som dansar i overaller, en pojke som håller sin far i handen framför en jättestaty av Lenin med lång skugga.Den indiske filmregissören Satyajit Ray sade att Cartier-Bressons främsta egenskap var att han såg det som förenade människor. Där har vi konsten igen. För nyhetsfotografiet visar det särskiljande, konsten visar det vi kan identifiera oss med. Vad skulle han ha sagt om internets syndaflod av bilder.När majrevolten utbröt i Paris gick så klart Cartier-Bresson ut med sin kamera. En filmfotograf riktade sitt objektiv mot Cartier Bresson som ju var mer känd än dem han fotograferade. Cartier-Bresson som då är drygt 60 ser ut som Tatis filmfigur Monsieur Hulot i ljus rock, smal och gänglig. Och Cartier-Bresson dansar fram med sin lilla kamera, alltid med ett enda objektiv: 50mm. Fram och tillbaka, ut på gatan, bakom folk, tittar över en axel, snor runt tar ett par lätta steg åt ett annat håll. En vadarfågel i rörelse, på väg att stjäla en bild ur ögonblicket. André Breton brukade säga att Cartier-Bresson samarbetade med chansen.Bilden 1937 av några picknickfirare vid en flodstrand. Man nästan hör pastisen slås upp i glasen, vågornas skvalp, fågelsången, klirret av bestick. Det är en bild som sammanfattar hela det franska 30-talet. Cartier-Bresson arrangerade den inte, men han var intresserad av dåtidens politik då alltså semestern var den stora reformen.Allt i bilden sammanfaller, den är så perfekt ut i minsta detalj att den inte går att glömma. Det är en liten essä om ett decennium i enda bild av ett vardagligt ögonblick, kondenserad tid. På sätt och vis kommer han aldrig fram till reportaget. Konsten tar över. Han fotograferar själva vardagen för alla sorters människor precis som impressionisterna målade vardagen i fest och arbete. Andlöst ömt fotograferar han en kvinnas ben på en soffa, ett likbål i Indien.En gång sades det att fotot befriade målarna från att vara detaljerade. När kameran registrerade allt kunde målarna strunta i detaljerna, lämna avbildningen och istället gestalta det de såg. Men sedda i efterhand står det klart att Henri Cartier-Bresson gestaltade snarare än återgav. Hans tusentals bilder är en enda lång hyllning till de oändliga variationerna av människligt liv.Ingenting är förutsägbart, flyttar man på sig bara en liten smula blir det en ny bild, ett nytt liv.Det gäller både fotograf och åskådare./Mikaels Timm SR Kultur The subtitle of the Pompidou Centre's retrospective of the 20th century's best-known photographer could be: Almost Everything You Know About Henri Cartier-Bresson is Wrong. Or, at least, Long Overdue a Rethink.. Henri Cartier-Bresson. Pompidou Centre, Paris. Starts 12 February 2014. Until 9 June 2014. Venue websiteIts curator, Clement Cheroux, has risen to the unspoken challenge that any Cartier-Bresson exhibition now presents: how to shed new light on the life and work of an artist who so defined the medium that yet another celebration of his genius might seem superfluous.

His intricate, careful depictions of modern life have won him accolades in the US and the UK, as well as the Angoulême International Comics Festival Grand Prize in 2021. Chris Ware sits down with FRANCE 24 as his cartoons and graphic novels are displayed at the Pompidou Centre's public library in Paris. He tells us how a childhood absorbed in Charles Schulz's "Peanuts" comic strip prompted a fascination for the "mechanical nature" of a story told in words and pictures. We also discuss how the intimate bond between writer and reader makes books powerful, subversive objects that still manage to bother those who seek to censor alternative viewpoints.

Maeve talks to artist Jeremy Shaw. They discuss Jeremy's early life, his influences, a misunderstanding that almost lead to his arrest and his recent work at the Pompidou Centre, Phase Shifting Index. Hosted on Acast. See acast.com/privacy for more information.

Matthew Bannister on Lord Rogers of Riverside, the influential architect who designed the Pompidou Centre in Paris and the Lloyds Building in London. April Ashley, the transgender model who partied with pop stars and aristocrats during the Swinging Sixties and campaigned for changes to the law on gender identity. Joan Didion, the American writer best known for her memoir 'The Year of Magical Thinking' written after the deaths of her husband and daughter. Ray Illingworth, the Yorkshire-born cricketer who captained England to two successive Ashes victories. Producer: Neil George Interviewed guest: Catherine Slessor Interviewed guest: Ivan Harbour Interviewed guest: Christine Burns MBE Interviewed guest: Dr Gary Everett Interviewed guest: Tracy Daughtery Interviewed guest: Susanna Moore Interviewed guest: Henry Blofeld Archive clips used: BBC TV, IMAGINE - Richard Rogers Inside Out 26/02/2008; ThamesTv YouTube Channel, Good Afternoon - April Ashley Interview 1970s; Media Archive Central England, What Am I? (1980); BBC RADIO 4, KALEIDOSCOPE - California Dreaming 05/07/1979; F.P. Productions / Universal Pictures, Play It As It Lays (1972); BBC RADIO 3, Words and Music - Less is More 23/02/2020; BBC RADIO 4, Today 23/04/2008; Merlin Television, MMC Masterclass (1994); YouTube, Ray Illingworth Career Review 01/01/2022; YouTube, Ashes Tour 1970-71 7th Test SCG 17/08/2021; BBC RADIO 4, Start The Week 09/08/1980; BBC RADIO 5Live, Ian Chappell Tribute to Ray Illingworth 26/12/2021; BBC RADIO 4, It's Your Line 13/04/1971; BBC Video. Ashes '72 (1988); YouTube, The Ashes 1970-71 Australia v England 7th Test End of Match 31/10/2016.

“What is it that a woman recognizes when she recognizes herself in another woman? This is the question that hovers in the margins of all three books in Léger's exquisite trilogy,” Eula Biss wrote of Léger's work in the New Yorker. “The books are extraordinary in the way they are written,” Biss adds. “Léger's sentences give the impression that they are doing exactly what they want to do. Her paragraphs are not dutiful, not in service to the previous or following paragraphs, but exhilaratingly independent…The essay, already a flexible genre, is at its most gymnastic here, as Léger passes through the many postures of a complex floor routine to produce one fluid, circuitous movement of thought. Her style, unconventional as it is, does not feel contrived. It feels inevitable—as if these books sprang from her mind fully formed, like Athena, born of a splitting headache.” Nathalie Léger Nathalie Léger is the author of several short experimental novels based on her research work as a curator, as well as a volume of illustrated, aphoristic flash-fiction, published under a pseudonym. The director of the Institut Mémoires de l'édition contemporaine (IMEC), which gathers archives and studies related to the main French publishing houses, she lives and works in Paris and in Caen. She curated two Pompidou Centre exhibitions on Roland Barthes and on Samuel Beckett in 2002 and 2007. Eula Biss The author of four books, Eula Biss holds an MFA in nonfiction writing from the University of Iowa and has been teaching at Northwestern University for fifteen years. Her work has been translated into over ten languages and has been recognized by a Guggenheim Fellowship, among many other prizes. Her essays and poems have appeared in the New Yorker, the Guardian, Harper's, and the New York Times Magazine, among other publications. Biss was the Library's Visiting Fellow from 2020-21. The Visiting Fellowship is generously supported by the The de Groot Foundation. The discussion is co-sponsored by Dorothy, a publishing project, which is an award-winning feminist press dedicated to works of fiction or near fiction or about fiction, based in St. Louis, USA. North American readers can purchase the books discussed in this event through Dorothy's website. In the UK and Europe, these books are available through the UK publisher Les Fugitives.

Three episodes have already been dedicated to great abstract painters: Maria Helena Vieira da Silva, Ana Eva Bergman and, Aurélie Nemours. This fourth episode, dedicated to Geneviève Asse, is broadcast a couple of weeks after she passed away in August. She was 98. A pioneer of abstraction, she had to wait to be 40 for her work to be shown regularly in galleries, 65 for an exhibition in a Parisian museum (at the Modern Art Museum), and 90 to get a retrospective of her work at the Pompidou Centre. Here is an occasion to listen again to her clear an airy voice, simultaneously precise and poetic, just like her direct, efficient almost monochromatic painting style (even though this is a term she rejected). The podcast Great Women of Art gives a voice to women artists of the 20th century. They speak about their work, their lives, the world around them and their achievements. Let us go in search of their presence, their secrets. Let us rediscover the hidden history of women artists through their voices.Great Women of Art is a podcast produced by AWARE: Archives of Women Artists, Research and Exhibitions, in collaboration with the Institut national de l'audiovisuel, with the support of Maison Veuve Clicquot and the Ministry of Culture's Délégation à la transmission, aux territoires et à la démocratie culturelle.  AWARE is a non-profit organization co-founded in 2014 by Camille Morineau. Coordinated by: Mathilde de Croix and the AWARE team Directed by: Élodie Royer Music by: Juliano Gil Credits: Andrew Nelson Sound Editing: Basile Beaucaire Research Advisors: Catherine Gonnard and Marjorie Micucci Translation: Beth Gordon French Voice: Camille Morineau English Voice: Lou Doillon Translation of the Artist's Voice: Eve Dayre Illustration : Fanny Michaëlis, Geneviève Asse, 2021 © Fanny Michaëlis

Highlights from the conversation:You collect ideas by looking around the world and doing things, and all of those things form a vocabulary of ideas that you then come to useI always try and encourage young designers to not just look at design – to look wide and experience wideThings lead to other things. The more you collect ideas, the more you will have opportunities to make them happenIt's important that we create systems that are open and easy to flex to accommodate audiences as they participate in what you've createdWe shouldn't just do ‘adaptable' for the sake of it, we should understand the role that each organisation playsThe work is also the journey. The difficult thing is to make brave ideas survive the process + make make into the real world More about Marina Marina Willer is a graphic designer and filmmaker with an MA in Graphic Design from the Royal College of Art. Before joining Pentagram as a partner, she was head creative director for Wolff Olins in London.During the course of her career, Willer has led the design of major identities schemes for Amnesty International, Tate, Southbank Centre, Serpentine Galleries, Oxfam, Nesta, Second Home, Sam Labs, and the largest telecoms in Russia (Beeline) and Brazil (Oi), among many others. She was also one of the designers behind the brand for Macmillan Cancer Support. More recently she led the rebrand of Battersea, one of​ ​Britain's​ ​oldest and most famous animal rescue centres, Maggie's and Rolls-Royce.Willer's first feature film, Red Trees, premiered at the 2017 Cannes Film Festival and was released worldwide by Netflix in 2018. Her films have been shown at Fondation Cartier in Paris, the ICA in London and prestigious film festivals worldwide. Marina has made several films for iconic British architect Richard Rogers, including “Exposed” — a film to introduce Rogers' exhibition at the Pompidou Centre and the Design Museum — and “Ethos”, which was screened at the Royal Academy of Arts. The films are the result of a longstanding collaboration with Rogers and his architectural practice RSH+P, for which Willer created the visual identity. A multi-faceted designer, Willer has recently turned her hand to exhibition design, where she has completed work on major exhibitions for the Barbican (‘Mangasia: Wonderlands of Asian Comics') and the Design Museum (‘Ferrari: Under the Skin').She has been an examiner at the Royal College of Art and is a member of the AGI (Alliance Graphique Internationale) the most prestigious graphic design association in the world. She has been chair of the D&AD jury on numerous occasions.During the course of her career, Willer has been the recipient of a variety of industry honours and she is consistently recognised as a leading figure in UK design, including Creative Review's Creative Leaders 2017, Design Week's People Who Made an Impact on Design 2017 and The Dots' Female Creative Leaders 2017.Awards include best Brazilian short film at the São Paulo Film Festival, 2004, Best British Promotional Film at Promex 2000, Grand Prix for Oi at the 2002 Design Effectiveness Awards and Gold for Macmillan 2007. Her Serpentine Galleries identity was among the 2014 nominees for the Design Museum's ‘Beazley Designs of the Year.Find Marina here: LinkedIn | Instagram Show NotesPeople:Margaret CalvertCompanies and organisations:TateAmnesty InternationalGreat Green Wall AfricaRolls RoyceMoholy-Nagy FoundationRoyal College of ArtShakespeare Theatre CompanyMiscellaneous:Red Trees How can you help?There are four ways you can help us out.Give us your thoughts. Rate the podcast and leave a comment.Share this as far and wide as you can - tell your friends, family and colleagues about us (caveat: if you own a family business, these may all be the same people)Tell us how we can create a better podcast - tell us what you liked, didn't like, or what you'd like to hear more (or less) ofTell us who you'd like to hear on the podcast. Suggest someone that you think we should interview.

റിയാസ് കോമുവുമായുള്ള ഒരു അഭിമുഖസംഭാഷണമാണിത് . വിഷയം അദ്ദേഹത്തിൻറെ കലയിലെ ഫുട്ബോൾ സാന്നിദ്ധ്യം. കൗമാരത്തിൽ കാലുകളേയും ഹൃദയത്തേയും ആവേശിച്ച ഫുട്ബോൾ ! തന്റെ സർഗാത്മകജീവിതത്തിൽ , സഞ്ചാരങ്ങളിൽ വിവിധ ലോകനഗരങ്ങളിലെ സ്റ്റേഡിയങ്ങൾ എങ്ങനെ സ്വാധീനിച്ചു ? ഇറാനിലെ ടെഹ്‌റാനിൽ ചെയ്ത ഷോ യുദ്ധം നാനാവിധമാക്കിയ ഇറാഖിൽ ഊന്നുവടികളിൽ പതാക പറത്തി കളി കാണാൻ വന്ന വൃദ്ധയോടൊപ്പം , ദക്ഷിണാഫ്രിക്കയിൽ ലോകകപ്പ് കാലത്തെ സന്ദർശനം , മെസോപ്പൊട്ടാമിയയിലെ സിംഹം യൂനസ് മെഹമൂദിനായി ചെയ്ത ശിൽപാദരം , പാരിസിലെ Pompidou Centre ലെ റിയാസിന്റെ ഫുട്ബോൾ കല , Subrato to Cesar എന്ന ഷോ , ഇന്ത്യൻ ഫുടബോളിന്‌ സമർപ്പിച്ച Mark Him ഒന്നും രണ്ടും , ഇന്ത്യൻ വനിതാ ഫുടബോൾ ടീമിന് വേണ്ടിചെയ്ത ഷോ ....അങ്ങനെയങ്ങനെ ... റിയാസ് കോമുവിന്റെ ഫുടബോൾ പ്രണയം അദ്ദേഹത്തിൻറെ കലയിൽ ചെയ്ത ലാവണ്യവൃത്തികളെകുറിച്ചാണ് ഈ സംഭാഷണം. സ്വാഗതം . സ്നേഹപൂർവ്വം എസ് . ഗോപാലകൃഷ്ണൻ 11 July 2021 ഡൽഹി

Brendan MacFarlane is a leading architect and co-founder of the Paris-based architectural firm Jakob + MacFarlane - a multidisciplinary architectural agency with a focus on environmental transition and digital culture. Jakob + MacFarlane are the initiators of the French chapter of ‘Architects Declare Climate & Ecological Emergency' – a network of architectural practices committed to addressing the climate and biodiversity emergency. They also recently won the C40 Reinventing Cities awards for their innovative, carbon-friendly projects, Living Landscape and The Energy Plug – both of which we speak about in this episode. Living Landscape is a new urban hub located in Reykjavik, Iceland. It will be the largest wooden building in Iceland and will house a local ecosystem of indigenous plants, local rocks and topographic surfaces. The space will also be home to a kindergarten, restaurant, greenhouses, office space and is designed to be an eco-systemic methodology for developing cities into the future. The Energy Plug is located in the northern suburb of Paris and is a reinvention of a former industrial site. Through a modular design, a reversible wooden extension and solar panels which are attached to the building, this site will become a self-sufficient producer of renewable energy, as well as being a centre for cultural events, scientific workshops, exhibitions and a place for start-ups, NGO's and industrial partners to test and share their solutions for clean energy, climate change and sustainable urban development. Jakob and MacFarlane also initiated an imaginary project called Tonga Above which rethinks the Tongan capital of tomorrow after it becomes inundated with rising sea levels due to climate change. As sea levels rise, a number of states within the Pacific Islands risk disappearing underwater. So, Jakob and MacFarlane, in partnership with the Tongan-based artist Uili Lousi, have proposed to create an urban landscape that would exist above the current Tongan capital and therefore prevent a mass relocation for citizens of Tonga. Other major projects by Jakob + MacFarlane include the Georges Restaurant at the Pompidou Centre, Paris, Orange Cube, Lyon, FRAC Centre, Orléans, and Euronews's global headquarters, Lyon. Jakob + MacFarlane's projects have been exhibited in museums around the world, including London's V&A Museum, the San Francisco Museum of Modern Art, Moscow's Museum of Architecture, Tokyo's Mori Art Museum and Pompidou Centre, Paris. If you'd like to see some of Jakob + MacFarlane's work, here are a few links to some the projects we spoke about in this episode: Living Landscape The Energy Plug Tonga Above And if you're interested learning more about Green Canvas, you can find us on our website. We hope you enjoy the episode!

Blufunk legend Keziah Jones, who became a global superstar at the turn of the 1990s after he was noticed busking in the streets of Paris and London, is back in the French capital to take part in a series of artistic events at the Pompidou Centre over the next three weeks. Along with choreographer Qudus Onikeku, a fellow Lagos native, Jones popped by the FRANCE 24 studios to tell us more about the "Fly by Night" events that celebrate African art, dance and music with creatives from Nigeria, Rwanda and DR Congo.

Up until very recently, it was believed that abstraction was invented and practised solely by men. However, after re-examination, it seems like it was the other way around: many women abandoned figurative art, as did their male colleagues at the time, to singularly inhabit the vast continent that is art. Vieira da Silva is one of them. Her story is quite extraordinary. Her work was recognised very early on when she was in her forties. She received many prizes, the Grand Prix National des Arts in 1966 and the Legion of Honour in 1979. Her work has been shown worldwide and is now part of some of the most prestigious museum collections in the world: the Guggenheim in New York, the Tate Modern in London, and the Pompidou Centre in Paris. In short, Maria Helena Vieira da Silva is one of the rare female artists to have risen to fame during her lifetime. The podcast Great Women of Art gives a voice to women artists of the 20th century. They speak about their work, their lives, the world around them and their achievements. Let us go in search of their presence, their secrets. Let us rediscover the hidden history of women artists through their voices.Great Women of Art is a podcast produced by AWARE: Archives of Women Artists, Research and Exhibitions, in collaboration with the Institut national de l'audiovisuel, with the support of Maison Veuve Clicquot and the Ministry of Culture's Délégation à la transmission, aux territoires et à la démocratie culturelle.  AWARE is a non-profit organization co-founded in 2014 by Camille Morineau. Coordinated by: Mathilde de Croix and the AWARE team Directed by: Élodie Royer Music by: Juliano Gil Credits: Andrew Nelson Sound Editing: Basile Beaucaire Research Advisors: Catherine Gonnard and Marjorie Micucci Translation: Beth Gordon French Voice: Camille Morineau English Voice: Lou Doillon Translation of the Artist's Voice: Eve Dayre Illustration: Fanny Michaëlis, Maria Helena Viera da Silva, 2021 © Fanny Michaëlis     

Twelve years ago, Vassily Kandinsky’s paintings were centre stage at Paris's Pompidou Centre, as it held an important retrospective of the artist's body of work. Today, the museum’s galleries remain closed due to Covid-19, but Kandinsky's vibrant, abstract canvases are now just a click away. We take a closer look at one of these iconic pieces.

Today it is my pleasure to introduce to you Richard Taylor, Professor, Physics Department Head at University of Oregon. His interests are: Nanoelectronics, retinal implants, solar cells, and the visual science of fractals. Richard Taylor specializes in experimental condensed matter and biophysics. He is the Director of Fractals Research and head of the Fractals Research Laboratory at the University of Oregon. For a complete transcript of this episode please visit treesmendus.com Richard Taylor regularly gives lectures around the world, invited by organizations as diverse as the Nobel Foundation, the White House, the Royal Society and national art galleries such as the Pompidou Centre and the Guggenheim Museum.Welcome Richard Taylor. 1) Richard Taylor would you please start by telling us your story in the arts and sciences?It is a long and winding story. For me all my passions started when I was a little 9 year old I started to get enthralled with the patterns in nature. They look very messy, whether you are looking at a cloud, tree or a mountain. But there is something very appealing about them as well. We all know that we love nature, but for me as a little kid is was: “why is it exactly that we love nature so much?” That took in a long winding process for me that took in physics, psychology, and arts. All my career has been based on this, and trying to understand that when we say nature has got a pattern, what exactly do we mean by that? 2) What are fractals? It’s a weird name for something that is very simple. So a fractal pattern, is simply a pattern that repeats at different sized scales. Although it is simple, nature uses it a lot. Examples of fractals are clouds in the sky, trees, and mountains. So it you take for example a tree and stand a long way from it, you will see a sort of rough pattern created by the trunk and the branches coming off. And if you walk closer, and zoom in on one of those branches, you’ll see that smaller branches come off those larger branches. And then look closely at those smaller branches, and you’ll see that twigs come off those smaller branches. So patterns are repeating at different magnifications as you look closer and closer to the tree. And that is all that a fractal is: a pattern that repeats at different magnifications. 3) How do fractals fit with stress? So although it is a simple idea, like a say nature uses it a lot – so clouds, mountains, rivers, coastlines, even lightening, are all fractal. I have been working with psychologists and we have been investigating what is the impact on you when you look at these fractal patterns. For millions of years, we have been absolutely surrounded by fractals so it is not surprising that our human eye has evolved to accommodate them. We have got this model that we call “fractal fluency” and what it purposes is that your eye has become fluent in the visual language of fractals. In other words, our eyes have actually evolved to look at these patterns. So when we do so, when we walk outside in nature and we stare at these fractals, it is like the visual system kind of wakes up and says “hey this is what I am meant to look at.”This opens up a floodgate of emotions and stress reduction. So when you look at one of nature’s fractal patterns, it actually reduces your stress levels by up to 60%. And this floods all the way through your body, so your whole body relaxes by that amount.

We take a visit to one of Europe's most iconic modern art venues, the Pompidou Centre, which is opening after a three-and-a-half month closure due to Covid-19.

Ten years ago, Jude Kelly founded WOW – the Women of the World foundation – aimed at celebrating women and girls and the challenges they face in society. The former artistic director of London’s Southbank Centre discusses this weekend’s WOW Festival in collaboration with the BBC, the first to take place online because of the pandemic. Emma Thompson reads one of her favourite poems. It's by Liz Lochhead, the former Scottish Makar, and called Photograph, Art Student, Female, Working Class. How do you set about writing a musical? In the first of a new series, Front Row follows a team of creatives led by writer Poppy Burton Morgan and composer Ben Toth, through every stage of the process of developing House Fire, a new musical about the climate crisis. With art galleries across the world closed, access to art for pleasure and education is severely limited and sorely missed, but some art organisations and games companies have developed games to help art lovers continue to engage with art at home. Gabrielle de la Puente of The White Pube, a collaboration of two art critics, joins Tom to review the Pompidou Centre’s single-player game Prisme 7 and the online multiplayer game Occupy White Walls. Main image: Jude Kelly Image credit: Ellie kurttz Presenter: Tom Sutcliffe Producer: Julian May

A rundown of some of the events and 'happenings' in Paris which celebrate modern art, plus a visit to three of the big hitter museums where you can see 20th and 21st century works: the National Museum of Modern Art in the Pompidou Centre, the City of Paris Museum of Modern Art and the Musée Picasso. To finish off, some ideas on other places to enjoy contemporary art in all its many forms, be that painting, sculpture, sound and video installations or photography. https://www.citybreakspodcast.co.uk

This week I speak with Lennart Grut, senior partner at Rogers Stirk Harbour + Partners. Lennart is the Partner principally in charge of managing the practice’s key international projects and has worked at RSHP for three decades starting work with Richard Rogers, Renzo Piano, Peter Rice and others on the Pompidou Centre in Paris. From engineer to senior partner his role now includes organising and managing multidisciplinary teams in multilingual environments to ensure delivery of projects. In this interview Lennart discusses: The unique constitution that structures the business of Rogers Stirk Habour + Partners How they have weather numerous economic recessions The generation change of the practice and the future of the business model   This week's Resources Discovery Call with Rion https://www.businessofarchitecture.co.uk/discoverycall Rogers Stirk Harbour + Partners http://www.rsh-p.com

Show sponsor Phil Shelley of oldfootballshirts.com made a rare appearance in the Reverb studio at the Open Market, and was joined by long-time Albion fan Sean Pankhurst, who himself used to design Brighton & Hove Albion shirts for Nike.We were also joined by Gordon Drysdale, creator of the Brighton & Hove Albion Taxi game.Shirt of the Week was an inside out weird thing. The football shirt equivalent of the Pompidou Centre.

In episode 62 UNP founder and curator Grant Scott is in his shed considering photography workshops and the promises they make, memory and photography from a personal perspective and and portrait photography made but not promoted.  Plus this week photographer Sunil Gupta takes on the challenge of supplying Grant with an audio file no longer than 5 minutes in length in which he answer's the question ‘What Does Photography Mean to You?' You can find out more about Niall McDiarmid's book Southwestern mentioned in this episode here www.niallmcdiarmid.com/books.php You can find out more about The Eye: How the World's Most Influential Creative Directors Develop Their Vision by Nathan Williams mentioned in this episode here www.workman.com/products/the-eye Sunil Gupta was born in 1953, in New Delhi and now lives in London as a Canadian citizen. During the late 1960s, his family moved to Montreal, where he received his BA in Communications in 1977, at Concordia University. His thirst for an artistic education led him to New York and then England. After receiving his diploma in Photography at West Surrey College of Art & Design, in Farnham, Gupta decided to continue his academic education at The Royal College of Art in 1981. He then enrolled at the University of Surrey, where he gained an Honorary MA. In 1989, Sunil co-founded Autograph – the Association of Black Photographers, and a few years later participated in the birth of the Organisation for Visual Arts (OVA), aimed to promote a better understanding of culturally diverse visual arts practices. In 1995, he was diagnosed as HIV positive and decided not to let it rule, and eventually ruin, his life and decided to fight back. As an artist, he has always gravitated towards self-referential art exploration and expression, retaining his belief in the universal nature of the human condition. Coming from an Eastern culture and living in the West, Gupta felt it was only right to connect these two sides of the world in his work, bringing them closer to one another. His work has been extensively exhibited both nationally and internationally at the Pompidou Centre, Paris, ICA, London, The Serpentine Gallery, London, The Photographers Gallery, London and the Tate, Liverpool amongst many other museums and galleries. His work is also held in collections at the Museum of Modern Art, New York, Tate, London, Philadelphia Museum of Art, Tokyo Metropolitan Museum of Photography , National Gallery of Canada, Ottawa and George Eastman House, Rochester, New York. He has won multiple awards and his most recent books include Christopher Street 1976, Delhi: Communities of Belonging, Queer: Sunil Gupta, Wish You Were Here, and Pictures From Here. www.sunilgupta.net Grant Scott is the founder/curator of United Nations of Photography, a Senior Lecturer and Subject Co-ordinator: Photography at Oxford Brookes University, Oxford, a working photographer, and the author of Professional Photography: The New Global Landscape Explained (Focal Press 2014) and The Essential Student Guide to Professional Photography (Focal Press 2015). His next book New Ways of Seeing: The Democratic Language of Photography will be published by Bloomsbury Academic in 2019. He is currently work on his next documentary film project Woke Up This Morning: The Rock n' Roll Thunder of Ray Lowry. His documentary film, Do Not Bend: The Photographic Life of Bill Jay can now be seen at www.youtube.com/watch?v=wd47549knOU&t=3915s. © Grant Scott 2019

Architects, on occasion, become household names – Engineers generally don’t. Yet without engineers, a building can not become a reality, making the leap from a design on paper to a standing structure. It is remarkable how few of us have heard the name Peter Rice – the Irish engineer behind many of the twentieth centuries most stunning global buildings, including the Sydney Opera House and the Pompidou Centre in Paris. Dying at only 57 in 1992, he is undoubtedly one of the most important Irish figures of architectural history. Donal Fallon has more with another episode of Hidden Histories.

Arts Research Africa — Where do you look for lost water? - Artistic research, arts pedagogy, and environmental politics in the Global South. A dialogue between Prof Atul Bhalla and Prof David Andrew. Held on Wed 10 October CNS Smart Seminar Room, 1st Floor, Solomon Mahlangu House. The recent ARA Artist in Residence in The Wits School of Arts, Athul Bhalla, is in dialogue with David Andrew about the experience of creating his installation Looking for Lost Water (Explorations at the Cradle) for the Watershed Conference, and the challenges of artistic research and arts teaching from a global South perspective. [PLEASE NOTE: Atul Bhalla's audio was recorded using a Skype feed from New Dehli. The poor sound quality was due to network problems during the recording.] Atul Bhalla is Associate Professor, Department of Art Design and Performing Arts, Shiv Nadar University, Dehli. Professor Bhalla is a conceptual artist whose work has been exhibited widely in the US, the Pompidou Centre, Paris, Valencia, Spain, London, Shahjar and India. Professor Bhalla spent time in Johannesburg in 2012 as a fellow of the Nirox Foundation, exploring in particular illegal mining and water sources around the city. In 2018 he returned to Johannesburg to further this research project by creating his installation for the "Watershed: Art, Science and Elemental Politics" Conference at Wits. David Andrew is Associate Professor and Head of the Division of Visual Arts at the Wits School of Arts. He studied at the University of Natal, Pietermaritzburg, (BA Fine Arts 1985) and the University of the Witwatersrand, Johannesburg, (H Dip Ed (PG) 1986; PhD 2011). He is an artist and lectures in Fine Arts and Arts Education courses. HIs current research interests include the tracking of histories of arts education in South Africa and southern Africa more broadly; the Another Road Map School international research project; and the reimagining of the arts school and artistic research in the context of the Global South.

Where do you look for lost water? - Artistic research, arts pedagogy, and environmental politics in the Global South. A dialogue between Prof Atul Bhalla and Prof David Andrew. Held on Wed 10 October CNS Smart Seminar Room, 1st Floor, Solomon Mahlangu House. The recent ARA Artist in Residence in The Wits School of Arts, Athul Bhalla, is in dialogue with David Andrew about the experience of creating his installation Looking for Lost Water (Explorations at the Cradle) for the Watershed Conference, and the challenges of artistic research and arts teaching from a global South perspective. [PLEASE NOTE: Atul Bhalla's audio was recorded using a Skype feed from New Dehli. The poor sound quality was due to network problems during the recording.] Atul Bhalla is Associate Professor, Department of Art Design and Performing Arts, Shiv Nadar University, Dehli. Professor Bhalla is a conceptual artist whose work has been exhibited widely in the US, the Pompidou Centre, Paris, Valencia, Spain, London, Shahjar and India. Professor Bhalla spent time in Johannesburg in 2012 as a fellow of the Nirox Foundation, exploring in particular illegal mining and water sources around the city. In 2018 he returned to Johannesburg to further this research project by creating his installation for the "Watershed: Art, Science and Elemental Politics" Conference at Wits. David Andrew is Associate Professor and Head of the Division of Visual Arts at the Wits School of Arts. He studied at the University of Natal, Pietermaritzburg, (BA Fine Arts 1985) and the University of the Witwatersrand, Johannesburg, (H Dip Ed (PG) 1986; PhD 2011). He is an artist and lectures in Fine Arts and Arts Education courses. HIs current research interests include the tracking of histories of arts education in South Africa and southern Africa more broadly; the Another Road Map School international research project; and the reimagining of the arts school and artistic research in the context of the Global South.

The Georges Pompidou Centre this spring is hosting three photographers from South Africa. David Goldblatt's critical work during apartheid and emigré South African photographers Oliver Chanarin and Adam Broomberg, in their conceptual work. RFI's Rosslyn Hyams has this report.

The Georges Pompidou Centre this spring is hosting three photographers from South Africa. David Goldblatt's critical work during apartheid and emigré South African photographers Oliver Chanarin and Adam Broomberg, in their conceptual work. RFI's Rosslyn Hyams has this report.

Have you ever found yourself in a stressful or dangerous situation and had a complete stranger offer assistance? As if they’d been placed there, by fate, or impossible coincidence, miraculously timed to step in and help … And then, just as mysteriously, disappeared? Maybe looking back it seems like the Universe was using this ordinary person as a divine messenger for you — an ordinary vessel, but with a supernatural role and unbelievable timing. But have you ever experienced this phenomenon in such a way it left you wondering if these helpful strangers were even human beings at all? ORIGINALLY PUBLISHED AS: Stranger Angels - Part 1 Stranger Angels - Part 2 The Paranormal Memoirs Are you new to podcasts? How to subscribe to my podcast free HOST LINKS sladeroberson.com Get an intuitive reading with Slade Download a free ebook and meditation Automatic Intuition Patreon.com Support this Show TRANSCRIPT Have you ever found yourself in a stressful or dangerous situation and had a complete stranger offer assistance?  As if they’d been placed there, by fate, or impossible coincidence, miraculously timed to step in and help…And then, just as mysteriously, disappear? Maybe looking back it seems like the Universe was using this ordinary person as a divine messenger for you. An ordinary vessel, but with a supernatural role and unbelievable timing. But have you ever experienced this phenomenon in such a way it left you wondering if these helpful strangers were even human beings at all? My name is Slade Roberson.  For over ten years, I’ve been a professional intuitive counselor and the author of the blog Shift Your Spirits, where I try to write about spirituality with fewer hearts and flowers than most New Age blather.  I also mentor emerging intuitives, psychics, and healers in a program called Automatic Intuition. Now a quick FYI before we go further — I’ve added a new feature to the show. For years now, before I send out a blog post, I try to tune in and listen for something that will speak directly to you, that will serve as a message. Like an oracle. And I get email replies, every week, with tons of you saying the post was a direct answer to a question you had. This is a really popular phenomenon -  for both of us - and I want to bring that to the podcast… So At the very end of this episode, after my final links and credits, I have a channeled message for you.  Be thinking about a question or concern you have. It may be answered by the show itself. But hold it in your mind and I’ll come back on at the end and leave you with something extra… OK So,  Back to the show.  Today, I want to share one of my own experiences with what I call stranger angels… (although I would never have used that terminology at the time…) In January 1992, when I was twenty-two years old, I traveled to Europe.  I flew to London with a small group of friends and stayed for a few days before splitting off from them to go meet up with another friend Allison who was waiting for me in Paris. We had arranged to connect at a specific hotel between the Latin Quarter of the 5th Arrondissement and the 13th Arrondissement on a Saturday morning — but the only trains I could take required that I arrive either half a day early or half a day late. So, I opted to travel in the wee hours of Friday night/ really early Saturday morning which would put me in Paris at 1 am. We were going to share a room, but I figured I could splurge and check into my own room for one night at the same hotel and sleep for awhile until Allison woke up. I only had a little bit of British cash when I left London, but I wasn’t concerned — all the train stations I’d ever been to in large cities like New York and London were always bustling with activity at all hours, even in the middle of the night. So I figured I could go to a money exchange when I arrived in Paris and turn in some American traveler’s checks for francs.  After the Channel boat crossing, which was actually pretty crowded, there were only four other people in the car on the train with me — two girls from New Jersey, Joanna and Julie, an Australian guy who eventually introduced himself as James, and a nondescript man in a khaki-colored trench coat who remained several rows away, never joined in our conversation, but nevertheless seemed to always be staring and closely watching us whenever I glanced over at him. The Jersey girls made entertaining companions, they were chatty and easy to be with; James from Australia was shy and although he moved closer to sit near us, he mostly just listened to the conversation. I was unprepared when I arrived at the Gare du Nord train station in Paris to find it an absolute ghost town — every kiosk, cafe, ticket booth, and bank was dark, locked up with those roll-down gates like you see on the front of mall stores when they’re closed. This was a Friday night in Paris; I thought there would be people everywhere. The Jersey girls yelled a cheery goodbye and snatched one of the only waiting taxis, and James melted away into the streets with the small crowd who exited our train from other cars. I wandered around in an awkward circle, looking for signs of activity, and quickly realizing I was not going to find any. This was a really ill-planned arrival. I had been so comfortable in London — I was traveling with friends from the US; staying in the apartment of British nationals; there was no language barrier; not to mention a kind of “past-life” familiarity that was at least partially supported by recognizable landmarks from years of studying English literature. Now I was alone in an abandoned metropolis with just enough high school French to read signs and grunt nouns and adjectives and to possibly butcher a verb conjugation or two, in a pinch. I was an obvious tourist carrying everything I had in an enormous pack; an easy target for a mugging. I was actually thankful there was a freezing fog everywhere to ensure the streets were emptier than they might otherwise have been. There was only one other person anywhere nearby that I could appeal to for directions. And he was watching me. The man in the khaki-colored trench coat, who had been staring at me on the train, was lingering, lurking at a casual distance. At least he was a familiar face, and if he had just arrived from England then chances were good he spoke my language. Feeling like a child who’d lost his mom in the mall, I walked up to him and began babbling about my circumstances — where I was trying to get to in the city, where I might find a money exchange… Why was Paris of all places shut down like this on a Friday night? I felt no sense of danger from him. Honestly, I suspected he might be cruising me, and I was more than willing to play along with that a little bit in exchange for crucial information. I was confident I could politely fend off any sexual advances, if that was his motive. As I talked to him, I realized there was something vaguely off about him. In the back of my mind I was cataloguing the details of his manner and appearance. He introduced himself simply as “Uh… John” and something about the way he said it sounded like a lie made up on the spot. When he spoke, his voice was soft and polite, yet he made no facial expressions. He was absolutely emotionless. He spoke English, yet I could detect no traceable accent — it wasn’t British, or American, or Australian. I can picture his face clearly and I would immediately recognize him if he walked into the room right now— but I can’t really describe much about him that would be identifiable or unique. His eyes were an unusual icy blue, but other than that… He could have been thirty… or he could have been forty or even fifty. His hair might have been a dirty blond… or maybe a light brown, or even silvery-gray. He was dressed from head to toe in monochrome — his pants and shirt were the same colorless beige. Only his shoes were a different color (and I noticed that, despite the cold, he wasn't wearing any socks). His clothes had creases in them, as if they had been taken directly out of packages. I felt like if I could have checked inside his collar I’d find price tags still attached. It reminded me of when I’d worked in retail stores, the way the body forms we dressed for the window displays appeared before the clothes had been steamed. That was it — he looked like a living mannequin. He looked too new, too perfect — yet totally unremarkable. He had absolutely no body hair — zero -  no stubble, no shadow, no hair on his wrists — not even the faint down that a woman or a child might have. He gave off an anonymous perfume that smelled exactly like… unscented dryer sheets. Even his breath was like a warm load of clean towels. John was… supernaturally ordinary. He offered to informally exchange the small handful of British pocket money I had on me — I handed him what amounted to less than five bucks, and turning away from me for a moment (probably to keep me from seeing into his wallet, I suppose) he produced a bill that, although still a modest amount, was at least quadruple the value of what I’d given him. “But it’s not enough for a taxi all the way from here,” he said. “You’ll need to walk quite a way first, as far as you can.” Using a rail map posted on a wall for reference, he showed me where I was and where I was headed. “Once you are in view of Notre Dame, or come to the Seine, you should be close enough to hail a driver to take you the rest of the way to your exact destination”  He hesitated for a second and then offered to walk with me. I told him that wouldn’t be necessary — I appreciated his kindness but I anticipated it might be more difficult to get rid of him later if I needed to. Before we parted ways outside the station he also warned me about the dangers of walking through this part of Paris in the middle of the night. He ominously advised me to “Be invisible,”  As far as ensuring that my path was relatively deserted, the weather was probably a blessing; but the grace of the cover it provided me came at a price — it was miserably freezing cold. The moisture in the air was just light enough to remain a dense fog, but it soaked me as well as any steady drizzle might have… It was a long, harrowing (shitty) night. I would need another thousand words here to itemize the petty trials of that night’s walk. My feet were blistered and swollen for days… I could not get warm the entire week that I spent in Paris… But to simplify the story, I can’t recall many times that I have felt that physically vulnerable. Had I been a crow, I could’ve kept moving directly south, but the streets were a crooked, uncooperative labyrinth that required constant course correction. I expended a lot of energy “being invisible” as I had been instructed. I encountered very few people — a handful of prostitutes propositioned me from the caves of doorways and shopfront awnings; I constantly crossed and recrossed streets to avoid anyone on the sidewalk; I ducked into phone booths from time to time to collect myself and maintain my bubble of cloaked energy. It didn't take me long to realize that John was following me. He remained a block or two behind me, and stopped when I stopped. Who has nowhere to be and nothing better to do than to follow me through the streets of Paris at 3 am in the middle of January? A serial killer? But I have to admit maybe I was a little comforted by his strange yet at least somewhat familiar presence over the alternative of being completely alone. Hours later — after walking and walking for hours — I spotted the recognizable architecture of Notre Dame. Soon after that, I was across the Seine and in the Latin Quarter. Thinking surely I was close enough to afford a cab the rest of the way, I stopped a driver and spluttered my destination.  He laughed at me and pointed — to the street I was seeking, which was about a few hundred feet away. I walked up and down that street for another hour — not only was the hotel not there, the very street number itself did not exist. After pacing back and forth and carefully tracking the building numbers to convince myself I wasn’t hallucinating, I was literally in tears. In frustration, I sat on a bench and surrendered to having arrived at being finally and totally lost. That’s when I saw John again, across a square formed by a jumbled intersection of streets. I was just pissed off enough and desperate enough at this point to walk right up to him and demand to know why in the Hell he was stalking me. He disappeared down a side street that looked like an alley and I followed him. But it wasn’t an alley at all — It was an improbable, completely eccentric continuation of the street I had been pacing up and down. The numbers picked up and continued. No sign of John, but there was the hotel. That Monday, a few days later, I was with my traveling companion Allison and her friend Natalie. We were walking from the Champs-Elysees headed to the Eiffel Tower when someone waved at me from the window of a restaurant. It was Jersey Joanna and Julie, smiling and waving excitedly at me. it was such an unexpected joy, the unlikely synchronicity of seeing these familiar faces.There were two men sitting with the girls who turned around to see who they were waving at. One of them was James the Australian guy — and I thought Wow! They ran into him again too? That’s kind of cool. What are the chances? And then I made eye contact with the Other guy. It was John. Why would he be with them? They never even spoke on the train… Allison was like “Do you know those people?” She was looking at me like — How is it even possible that you would just run into someone Here? I was kind of too overwhelmed in the moment just trying to process the coincidence to explain how huge it actually was, so I just said. “Yeah. They came over with me on the train from London.” But that wasn’t the last time I saw John while I was in Europe. I saw him again, a few weeks later, on the day I was mugged at gun point in Amsterdam. My time in Paris was… difficult. I felt stressed, distracted, uneasy, but also mute and invisible. I’m someone who talks a lot, but because my roommate Allison was fluent in French, she did all my talking for me. Her friend Natalie was a French national, and although I’m sure they didn’t purposefully exclude me, they chattered away with me along as a silent third wheel, just listening, catching only about fifty percent of what they said. They dragged me through two full days of the Louvre… Madonna-and-Child, Madonna-and-Child, Madonna-and-Child — “Oh, look, the Mona Lisa; neato” — Madonna-and-Child, Madonna-and-Child… Endless palatial corridors of Madonna-and-Child.  I felt like I was stuck in some virtual reality walk-through of a really tedious Art History textbook. I told Allison “If I don’t see something painted after 1890, I’m going to lose my mind.” So I ducked out and went for some amazing (much needed) inspiration from the modern art collection at the Pompidou Centre — without the girls. When Allison and I were finally alone in our room that night and she switched back to English, my voice came out thick from lack of use. And when we spoke, we bickered. She kept asking me. “What are you looking at?” I was standing by the window — again — peering out through a gap in the curtains, not really conscious of what I was doing or that it was even noticeable until she pointed it out. She accused me of acting paranoid, day after day — constantly looking back behind us when we were walking, checking and re-checking the lock on the door, and lurking near the window watching the street. She said “You’re making me nervous. It’s like we’re being followed.” I couldn’t explain myself so I let her believe I was just being a pill; that I was miserable being in Paris with her. (Which I kinda was.) I told her I was going to cut my stay short and go to Amsterdam alone. She didn’t protest; I’m sure she was relieved to spend her remaining days with Natalie without having to be my translator.  Maybe France simply did not agree with me.  Arriving in Amsterdam I immediately regained the better mood and sense of comfort I’d had when I began my trip in the UK. I met a couple my age from San Francisco, Marty and David, who were staying in my hotel. They had been in Amsterdam for most of the previous week, their last three days coincided with my first three; they were able to show me around to all the “best” places nearby they’d discovered to hang out and eat, reasonably inexpensive ones that weren’t such tourist traps. We went out to some great clubs every night and, best of all, I could participate fully in conversation again. I had exactly the kind of traveling experience I had hoped to have. I became attached to Marty and David pretty quickly, and when they departed, their absence was palpable. I had little expectation of achieving that same sense of joy or meeting other strangers I could click with so effortlessly.  Truly, my intuition said “Might as well go ahead and leave” — but there were a few sites I wanted to see while I had the chance and they seemed appropriate for that lonely, invisible state I had fallen back into. The first day on my own, I went to the Anne Frank House (a profound adventure that deserves its own story sometime) and then I came back to my hotel room and watched the flocks of thousands of birds that would wheel out into the sky each evening at dusk above the Centraal Station just across the canal from my window, moving together like an enormous tornado or a computer-animated coming swarm in a killer bee movie. They would hover in a shifting cloud for close to half an hour, as if they knew they were performing for an audience. The next day I chose to walk across town to the Van Gogh Museum. It was a fortunate serendipity on some levels — there was a special temporary traveling exhibit on Mackintosh Art Nouveau, which is absolutely my favorite art history design period ever. The entire upstairs of the museum was converted into complete rooms that replicated Art Nouveau interiors, and there was a small movie theater playing a documentary on the period. Although there were a half-dozen other people in the theater with me, I felt like the installation existed at that time and place just for me — like I had successfully manifested it… and I had more of these intense past-life memories that had made my time in England feel so electric. When the credits scrolled across the screen and the lights came on, I pulled myself up with a satisfied sigh and headed reluctantly toward the exit. I’m sure if you’d been there watching me, you would have seen the smile on my face MELT when I saw ….  JOHN sitting in the back row. Part of me was like Are you kidding me? But my physical response was fear — I didn’t even look at him, I just kind of weirdly acted like I hadn’t seen him — like you do when you see someone you don’t want to run into— and I just fled the museum. The wind that channeled between the buildings was the only thing that kept me from running all the way back to my hotel — I would round a corner and find the signs and traffic lights swinging wildly, and I’d have to lean into the force of the wind as if I was hiking uphill. It created that horrible sensation you have when you’re being hunted in dreams, your body stuck in slow motion, your limbs lagging behind the directions of your mind. It’s easy for me now to look back and wonder about the questions that must have been going through my mind — Who is this guy? Why would he be following me like this? Is he a stalker, a serial killer — maybe he’s some kind of cop who mistakenly thinks I’m a serial killer? Why would anyone want to tail me? And you know How is it even possible that he can keep up with me from one city to the next? At the time — honestly — I did not care. I wasn’t thinking anything except "I want to go home.” I hurried from the museum as if the United States was just a few miles away, and if I could move fast enough and push myself, I might reach it before I ran out of breath. I’d been abroad for about a month at that point — maybe I just wasn’t as “worldly” as I would’ve fancied myself to be; maybe all these enormous gray winter cities were smoothing away the edges of my personality… maybe I was just incredibly homesick and this was what that felt like. But more than anything, I felt threatened. I felt unsafe. I felt like I was in danger… and the stranger behind me, who I couldn’t seem to shake, corresponded with this atmosphere of fear. Fear often turns into anger (especially for me) and the anger gets directed at the person you blame for making you feel afraid. (Regardless if that’s appropriate or not) But at some I wasn’t just running away anymore, I was also fuming, and I knew it was building up ( and like, God help him if he actually caught up to me) – which, I kinda wanted to happen. I may have looked like I was moving away from him, but I was really marching toward the break where I would turn around and just RAGE. I heard a voice in my head (a man’s voice, not my own) say: You are powerful. And I answered back: I AM powerful. You are protected, the voice said.  And that slowed me down a little bit. You are fine, the voice assured me. Now, I was out of breath. There was a stitch in my side. I’d dropped into a slower pace of determined, sustainable endurance, and the words I was hearing rearranged themselves in a sing-song affirmation in time to my foot falls: I am powerful, I’m protected, I am fine / I am powerful, I’m protected, I am fine / It became a mantra, a chant that helped me maintain my speed, it pulled me along, but also calmed me, put me into an altered state. I came face to face with this man with dreadlocks who was standing right in my path. I ducked to the side to go around him and he matched the movement in what seemed like one of those awkward “Excuse me, after you” kind of dances But Dreadlocks wasn’t trying to pass me, he was shadowing me, mirroring me, “guarding” me like a basketball player. When I just stopped, he walked right into me as if he were going to embrace me with one arm and shake my hand with the other. He grabbed me and held me close him, and shoved a gun against my belly. At least, a pocket full of something meant to feel like the nose of a handgun. “Money,” he said to me in English. “Come on.” Two things flip my switch: being assaulted or bullied being in the presence of someone I care about who is being assaulted or bullied When I was in my twenties, I had virtually no ability to manage defensive anger and my temper turned on and up in one direction – full-on, unbridled, absolutely ape shit. No warning, no ratcheting up by degrees… And it came with a loud, hateful, free-style narration. My Daddy used to say that I had The Kind of Lip That Will Get You Killed in The Wrong Circumstances. My friends in college were amused by my tongue-lashings and called this aspect of my personality “Julia Sugarbaker.” I doubt Dreadlocks would have ever predicted the manner in which I responded. He had no way of knowing just how pumped up on anger and fear I already was. I probably looked like someone running away, which his instincts identified as prey – but what he ran right into was Royally Pissed. When my words came out, I screamed them, berating the pedestrians who passively walking by as much as my mugger, and on some level, I was screaming at John. “You have got to be fucking kidding me. You’re going to mug me, in broad daylight, two o’clock in the afternoon, in the middle of the damn street? And you expect me to believe you’ve got a gun and you’re going to shoot me with it in front of all these people for spare change? You know, it’s no shock to me that every fucking piece of shit would-be thug in America actually does carry a gun because our whole society prides itself on the fact, but in the Netherlands, man, really? That’s a pretty big deal for you to be carrying here, isn’t it? I mean, you’re either a serious hard core criminal or you’re faking it. You’re obviously small time, because why else would you be holding me up for a handful of cash that won’t even buy you a cup of coffee? What is that in your pocket anyway, a plastic cigarette lighter?” Dreadlocks glanced around nervously at the crowd I was drawing and said under his breath “Man, cool down. Just give me some money, that’s all I want.” I shoved my hand into my pocket and pulled out some Dutch coins and the crumpled, sweaty French bill that John had given me that night at the Gare du Nord. I’d never spent it. I had continued to carry it around like a talisman. I was even a little bit pissed to be giving up something I’d come to think of as a souvenir. Dreadlocks-man held out his hand between us and I slammed the money onto his palm, slapping it hard enough that the coins leapt and pinged off a grate in the sidewalk. He held onto the French bill, looked at it quickly, and shook his head like he was disappointed with me. “Man, come on,” he said, as if he were trying to say “I can’t do anything with this…” “No? Cause you said all you wanted was money; that’s all I got; that’s all you’re getting. Would you rather have some traveler’s checks you can’t possibly exchange without an ID and a really good forgery? If so, you’ll need to walk me back to my hotel and let me get them out of my room safe for ya, you wanna do that?” He looked at the French bill again like he was trying to decide whether or not to just give it back to me. “Come on,“ he pleaded one more time. I saw him look over my shoulder and his eyes re-focused. I knew exactly who he was looking at. In a much lower, confidential, whisper I said to him. “You see that man behind me, the one in the trench coat? …Yeah, I can see that you do… You’ll notice I also don’t even need to look because I know he’s back there. He’s been following me for two weeks. He’s some kind of cop, or some kind of detective, I don’t know who or what he is, but he’s watching me, and now he’s watching you too. You just got that guy for a witness.” It really wasn’t a bluff; and maybe the authenticity of my confession gave it power. At any rate, the doubt and confusion played out quickly. The Dreadlocks guy backed away slowly at first, clearly keeping his eyes on John, and then he turned and ran. I was so jacked up on the adrenalin of the situation, I swiveled around with the full intention of finally laying into this “stranger” John who was following me. I was mad enough to punch him.  Of course he was there, just as I knew he would be, keeping to his minimum fifty-foot distance. John just opened his hands and held out his palms, slightly shaking his head. He grinned with a kind of lop-sided, regretful smile. He looked, more than anything, sad and… apologetic. As if to say, “Sorry that it had to be like this.” And then he just walked away, back in the direction we’d come from. He was just swallowed by the crowd. I’ve attempted to relate this story without interpretation, because at the time it happened, and for many years after, it was just an odd mystery that became one of those “the time I was held up at gun point” stories. Knowing what I speak about and write about these days, of course, you’re gonna infer some paranormal or spiritual significance... Honestly, it may not even compare that well to the more profound angelic intervention stories you might have heard — it just happens to be one that happened to me. And I’m sharing it with you because it’s an event that came up again a decade later. This is just a Prologue. In 2002, ten years later, I met a man named Jesse — who somehow already knew these events had happened to me — and he’s the one told me What It All Meant. So... thanks for listening and stay tuned to the next episode of the Shift Your Spirits podcast… For show notes, links, and all the past episodes please visit shiftyourspirits.com You can subscribe to this podcast in iTunes or Stitcher or whatever app you use to access podcasts. If you’re new to podcasts, it’s that purple button on your iPhone. Click it, search Shift Your Spirits and hit Subscribe - then all the episodes will be there for you, automatically. And you can take them with you to the gym or listen in your car … that’s what I love about podcasts. Also, if you want to support the show, it would really help me out if you’d leave a rating and a review in iTunes, and share it with some friends you think would be into it. If you’d like to get an intuitive reading with me, or download a free ebook and meditation to help you connect with your guides please go to sladeroberson.com and If you’re interested in my professional intuitive training program, check out automaticintuition.com BEFORE I GO I promised to leave you a message in answer to a concern or question you may have. So take a moment to think about that—hold it in your mind or speak it out loud—I’ll pause for just a few seconds….right…NOW MESSAGE Your situation needs some forgiveness. You need to let go of any past anger you’re holding onto. It’s holding you back. You either need to forgive someone else…OR You need to forgive yourself... For placing unrealistic expectations on this situation.  I'LL TALK TO YOU LATER

Photo By: Tina RowdenToday’s conversation covered a lot of ground. Listen in as Atom speaks about his approach to understanding the human condition, remorse and reconciliation, national self-determination and the stories he tells.BiographyWith fifteen features and related projects, Egoyan has won numerous prizes at international film festivals including the Grand Prix and International Critics Awards from the Cannes Film Festival, two Academy Award® nominations, and numerous other honours.  His films have won twenty-five Genies – including three Best Film Awards – and a prize for Best International Film Adaptation from The Frankfurt Book Fair.  Egoyan’s films have been presented in numerous retrospectives across the world, including a complete career overview at the Pompidou Centre in Paris, followed by similar events at the Filmoteca Espagnol in Madrid, the Museum of The Moving Image in New York and the Royal CINEMATEK in Brussels.His body of work – which includes theatre, music, and art installations – delves into issues of memory, displacement, and the impact of technology and media in modern life. His latest feature, REMEMBER, stars Christopher Plummer.Egoyan’s art projects have been presented around the world including The Venice Biennale and Artangel in London. Steenbeckett became part of The Artangel Collection, an innovative alliance with the Tate. His installation, Auroras, was recently on view at the Maxim Gorki Theater in Berlin, in a program commemorating the centennial of the Armenian Genocide.Egoyan directed the North American premiere of Martin Crimp’s Cruel and Tenderfor the Canadian Stage theatre company in early 2012. His adaptation of Samuel Beckett’s Eh Joe was presented by The Gate Theatre in Dublin, where it won The Irish Times/ESB Award for Best Direction before transferring to London’s West End and The Lincoln Center Festival in New York.Egoyan directed the contemporary Chinese opera Feng Yi Teng for the 2012 Spoleto Festival in Charleston and the Lincoln Center Festival, New York. It was performed at the Luminato Festival in 2013, following the remount of Richard Strauss’s Salome with the Canadian Opera Company. Egoyan directed a new production Mozart’s Così fan tutte for the COC in 2014. His award-winning production of Wagner’s Die Walküre was performed in early 2015.Egoyan is a member of The Academy of Motion Picture Arts and Sciences, the Directors Guild of Canada, the Directors Guild of America, the Writers Guild of Canada, the Writers Guild of America, and the Royal Canadian Academy of Art. He is an Officer of the Order of Canada.Egoyan is honoured with a 2015 Governor General’s Performing Arts Award.Ego Film ArtsNational past article.Trailer for Remember See acast.com/privacy for privacy and opt-out information.

Kirsty Young's castaway is the chef and restaurateur, Ruth Rogers. Born in America, she has become one of the UK's most celebrated cooks. Despite not being a trained chef, she set up The River Café with her business partner, the late Rose Gray, in 1987. The focus was on high quality, seasonal produce cooked the Italian way. Many of today's top chefs including Jamie Oliver, Hugh Fearnley-Whittingstall, Theo Randall, Sam Clark and Allegra McEvedy began their careers in their kitchen. The café was awarded a Michelin star in 1997. The youngest of three children, Ruth Rogers' parents were both immigrants and very political. In the late sixties, she left America and moved to London where she joined other Americans protesting against the Vietnam War. In 1969 she met the architect, Richard, now Lord, Rogers and they married in 1973. The couple moved to Paris when Richard Rogers and his partners won the contract to design the Pompidou Centre. There she learned the importance of seasonality: subsequent visits to Italy shifted her passion to Italian cooking. Producer: Cathy Drysdale.

Associate Professor Andrew Kudless has been a visiting academic and researcher in robotic fabrication at the Abedian School of Architecture from May 2014. The founder of MATSYS Design, Andrew is an architect based in San Francisco where he is also an associate professor at the California College of the Arts. He has also taught at the Architectural Association (AA), Rice, Yale, and Ohio State where he was the Howard E LeFevre Fellow for Emerging Practitioners. Professor Kudless holds degrees from the AA (Emerging Technologies and Design) and Tulane University. His work has been exhibited in the US, England, France, Japan and China, and is in the permanent collections of the Pompidou Centre, the FRAC Centre, and SFMOMA.”

With John Wilson. Architect Richard Rogers, Baron Rogers of Riverside, is the subject of a retrospective exhibition at the Royal Academy in London. Timed to coincide with his 80th birthday, the show includes his designs for the Pompidou Centre, the Lloyds building and the Millennium Dome. Richard Rogers talks to John about dyslexia, Prince Charles and everybody's democratic right to see a tree from their window. Preparations are underway for the first Gospel music Prom. Conductors Ken Burton and Rebecca Thomas join Prom host Pastor David Daniel to discuss the history of British gospel music, what it means today and whether having a religious belief is important to be a performer. To illustrate what audiences at the Royal Albert Hall and on BBC Radio 3 will hear, members of the London Adventist Chorale sing in the studio. In tonight's Cultural Exchange, Ian Rankin chooses the 1973 album Solid Air by the British singer-songwriter and guitarist John Martyn. Producer Claire Bartleet.

Renzo Piano is one of the world's most accomplished and feted architects; and one used to dividing opinion. Back in the 1970s he designed Paris's Pompidou Centre and since then has taken on high profile developments all over the globe. His latest creation – The Shard, which is currently Europe's tallest building - is already loved, but it is also loathed. What does the Shard say about us? And why build it so big?(Image: Renzo Piano, Credit: Getty Images)

It is 35 years since the opening of the iconic modern art centre in Paris. Richard Rogers was one of the two architects who won the commission to build it. Photo: Miguel Medina/AFP/Getty Images

This year's Reith lecturer is Richard Rogers, one of the most influential British architects of our time. He has established himself and his practice at the forefront of today's architecture industry through such high-profile projects as the Pompidou Centre, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His series of lectures is entitled 'Sustainable City' and each lecture focuses on architecture's social role and the sustainable urban development of towns and cities through social and environmental responsibility. In his fifth and final Reith lecture, Richard Rogers compares some of the world's most sustainable cities with those of Britain and argues that we have still not grasped the economic importance of a thriving urban culture. He considers what practical steps governments, citizens, architects and planners could take in order to achieve change, and argues that equitable cities that are beautiful, safe and exciting are quite within our grasp.

This year's Reith lecturer is Richard Rogers, one of the most influential British architects of our time. He has established himself and his practice at the forefront of today's architecture industry through such high-profile projects as the Pompidou Centre, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His series of lectures is entitled 'Sustainable City' and each lecture focuses on architecture's social role and the sustainable urban development of towns and cities through social and environmental responsibility. In his fourth Reith lecture, Richard Rogers turns his attention to London and examines some of the economic, social and ecological problems it currently faces. He argues that London offers every opportunity to create a cultured, balanced, and sustainable city but it urgently needs to adopt a new and sustainable approach that encourages its public life, discourages urban sprawl, and protects the environment for the future rather than being abandoned to the mercy of market forces. This, he believes, can only be realised by an overall authority for the capital.

This year's Reith lecturer is Richard Rogers, one of the most influential British architects of our time. He has established himself and his practice at the forefront of today's architecture industry through such high-profile projects as the Pompidou Centre, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His series of lectures is entitled 'Sustainable City' and each lecture focuses on architecture's social role and the sustainable urban development of towns and cities through social and environmental responsibility. In his third Reith lecture, Richard Rogers examines the ways in which buildings can enhance the public sphere and argues that our sometimes over-zealous preservation of buildings allows our architectural heritage to choke our future. Only by tailoring buildings to the changing needs of people and the environment, he says, can we sustain the public life of our cities.

This year's Reith lecturer is Richard Rogers, one of the most influential British architects of our time. He has established himself and his practice at the forefront of today's architecture industry through such high-profile projects as the Pompidou Centre, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His series of lectures is entitled 'Sustainable City' and each lecture focuses on architecture's social role and the sustainable urban development of towns and cities through social and environmental responsibility. In his second lecture, Richard Rogers explores how cities have become, in his view, socially divisive and environmentally hazardous. In the beginning we built cities to overcome our environment; in the future we should build cities to nurture it. We must, he argues, reinvent a dense and diverse urban space that grows around social as well as commercial activity. Strategies to improve the sustainability of our environment can fundamentally improve the social life of our cities.

This year's Reith lecturer is Richard Rogers, one of the most influential British architects of our time. He has established himself and his practice at the forefront of today's architecture industry through such high-profile projects as the Pompidou Centre, the headquarters for Lloyds of London, the European Court of Human Rights in Strasbourg and the Millennium Dome in London. His series of lectures is entitled 'Sustainable City' and each lecture focuses on architecture's social role and the sustainable urban development of towns and cities through social and environmental responsibility. In his first lecture, Richard Rogers explores the fundamental dichotomy of the city; that it has the potential to both civilise and brutalise. He argues that the decaying fabric of urban life must be transformed into a sustainable, civilising environment, through the greater emphasis on citizens' participation in city design and planning, if we are to avert catastrophe. By putting communal objectives centre-stage, he says, we can transform the fabric and environment of our cities through greater, genuine, public participation and committed government initiative.

The castaway in this week's Desert Island Discs is the General Director of the South Bank, Nicholas Snowman. Very much a man of the arts, and a determined apostle of all things new, he founded the University Opera Society when he was at Cambridge and the London Sinfonietta when he left. He then moved to Paris, where he was appointed Artistic Director of the Pompidou Centre.His latest post at the South Bank has attracted considerable controversy, with one critic describing his concert programme as "seriously unattractive". He'll be discussing his vision of the South Bank's musical future with Sue Lawley and talking about his achievement of establishing, for the first time, a resident orchestra in Britain's largest arts centre.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: String Quintet No 4 In G Minor by Wolfgang Amadeus Mozart Book: Smiley's People by John Le Carre Luxury: Coffee machine

The castaway in this week's Desert Island Discs is the General Director of the South Bank, Nicholas Snowman. Very much a man of the arts, and a determined apostle of all things new, he founded the University Opera Society when he was at Cambridge and the London Sinfonietta when he left. He then moved to Paris, where he was appointed Artistic Director of the Pompidou Centre. His latest post at the South Bank has attracted considerable controversy, with one critic describing his concert programme as "seriously unattractive". He'll be discussing his vision of the South Bank's musical future with Sue Lawley and talking about his achievement of establishing, for the first time, a resident orchestra in Britain's largest arts centre. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: String Quintet No 4 In G Minor by Wolfgang Amadeus Mozart Book: Smiley's People by John Le Carre Luxury: Coffee machine

The castaway in this week's Desert Island Discs is one of Britain's leading and most controversial architects Richard Rogers. He'll be talking to Sue Lawley about two of his most celebrated designs - the Pompidou Centre in Paris and the Lloyds Building in London - and describing how his passion for the new and the innovative has brought him into disagreement with many critics, including Prince Charles, with whom he shares a passionate concern for the quality of our built environment.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Concerto No 24 Second Movement by Wolfgang Amadeus Mozart Book: The Odyssey by Homer Luxury: His wife, Ruth, but if this is disallowed then a painting

The castaway in this week's Desert Island Discs is one of Britain's leading and most controversial architects Richard Rogers. He'll be talking to Sue Lawley about two of his most celebrated designs - the Pompidou Centre in Paris and the Lloyds Building in London - and describing how his passion for the new and the innovative has brought him into disagreement with many critics, including Prince Charles, with whom he shares a passionate concern for the quality of our built environment. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Piano Concerto No 24 Second Movement by Wolfgang Amadeus Mozart Book: The Odyssey by Homer Luxury: His wife, Ruth, but if this is disallowed then a painting