Podcast appearances and mentions of ronald rael

In this episode, we welcome Ben Loescher, founding principal of Loescher Meachem Architects [https://adobeisnotsoftware.com/], to discuss the viability of adobe construction in rebuilding efforts in Los Angeles following devastating wildfires. We also share an excerpted discussion between Marysia Miernowska, Director of the School of Sacred Wild and Dastan Khalili, President of the Cal-Earth Foundation, and a short clip from architect and artist Ronald Rael, who teaches architecture at UC Berkeley. His piece, Adobe Oasis, premiered the other day at DesertX Land Art Exhibition in Palm Springs. We delve into the potential of alternative materials, yes, adobe and other earthen constructions, as sustainable solutions for future building projects. Loescher shares insights on the importance of adaptive reuse, the challenges of current building codes, and the vital relationship between architecture and the environment. Join us for an enlightening conversation about how we can construct a more sustainable future. Support the Podcast via PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url For an extended interview and other benefits, become an EcoJustice Radio patron at https://www.patreon.com/ecojusticeradio Resources: Mud Man Short film: https://adobeisnotsoftware.com/mud-man/ Marysia Miernoska interview with Dastan Khalili: https://www.instagram.com/reel/DE5zmtuyGqV/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Ronald Rael short clip: https://www.instagram.com/reel/DGGvLobi_Bp/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Ben Loescher is a founding Principal at Loescher Meachem Architects [http://www.lmarchitectsinc.com/] where his work focuses around reuse of existing buildings, high performance workplace design for the film, television and media industries, and innovation in earthen construction. Ben provides education for earthen building through his website AdobeIsNotSoftware.com [https://adobeisnotsoftware.com/], is currently Chair of the Earthbuilders' Guild, the U.S. trade association for earthen construction and a board member for Adobe in Action, a New Mexico based non-profit focused on assisting individuals in creating affordable earthen housing. Jack Eidt is an urban planner, environmental journalist, and climate organizer, as well as award-winning fiction writer. He is Co-Founder of SoCal 350 Climate Action and Executive Producer of EcoJustice Radio. He writes a column on PBS SoCal called High & Dry [https://www.pbssocal.org/people/high-dry]. He is also Founder and Publisher of WilderUtopia [https://wilderutopia.com], a website dedicated to the question of Earth sustainability, finding society-level solutions to environmental, community, economic, transportation and energy needs. Podcast Website: http://ecojusticeradio.org/ Podcast Blog: https://www.wilderutopia.com/category/ecojustice-radio/ Support the Podcast: Patreon https://www.patreon.com/ecojusticeradio PayPal https://www.paypal.com/donate/?hosted_button_id=LBGXTRM292TFC&source=url Executive Producer and Host: Jack Eidt Engineer and Original Music: Blake Quake Beats Episode 255 Photo credit: Loescher Meachem Architects

Brandon Sánchez Mejia stood at a giant wall in UC Berkeley's Worth Ryder Art Gallery and couldn't believe his eyes. In front of him were 150 black-and-white photos of men's bodies in all sorts of poses and from all sorts of angles. It was his senior thesis project, "A Masculine Vulnerability," and it was out for the world to see."It came from this idea that as men, we are not allowed to show skin as scars or emotions or weakness," said Sánchez, who will graduate from Berkeley this May with a bachelor's degree in art practice.Sánchez's cohort is part of the Department of Art of Practice's 100th year, a milestone that department chair Ronald Rael said is cause for celebration."There have been moments in art practice's history when it was unclear that art should be at a university at all," said Rael, a professor of architecture and affiliated faculty in art. "And here we are, at 100 years, and it's one of the most popular majors on campus."Listen to the episode and read the transcript on Berkeley News (news.berkeley.edu). This is a companion podcast to a feature story about Sánchez, published earlier this month on Berkeley News. There, you can view more photos and read about about how Sánchez's mom made him stay inside for a year as a teenager in El Salvador out of fear he'd join a gang. And how, against his mom's wishes and without any money of his own, he decided to pursue an education — no matter what it took. UC Berkeley photo by Keegan Houser. Music by Blue Dot Sessions. Hosted on Acast. See acast.com/privacy for more information.

This podcast is a commentary and does not contain any copyrighted material of the reference source. We strongly recommend accessing/buying the reference source at the same time. ■Reference Source https://www.ted.com/talks/ronald_rael_an_architect_s_subversive_reimagining_of_the_us_mexico_border_wall ■Post on this topic (You can get FREE learning materials!) https://englist.me/146-academic-words-reference-from-ronald-rael-an-architects-subversive-reimagining-of-the-us-mexico-border-wall-ted-talk-2/ ■Youtube Video https://youtu.be/PKbX8LkPjBI (All Words) https://youtu.be/pPbQT-UIbfg (Advanced Words) https://youtu.be/53LSO7P7nFc (Quick Look) ■Top Page for Further Materials https://englist.me/ ■SNS (Please follow!)

Ronald Rael and Virginia San Fratello of Rael San Fratello join the podcast to discuss the concept behind their Teeter-Totter Wall at the U.S.–Mexico border, how 3D printing can be implemented into construction, and the relationship between art and architecture. CLAIM CEU CREDIT HERE

Ronald Rael and Virginia San Fratello at Rael San Fratello Overview:Ronald Rael and Virginia San Fratello at Rael San Fratello discuss “disruption” in architecture and their view on the interplay between art and architecture. The Bay Area architects explain their thought-process behind the Teeter-Totter Wall event and provide insight into their material-based practice. They talk about their Emerging Objects company and explore questions about responsibility and sustainability in terms of new technologies in 3D printing and utilizing earthen materials.  Learning objectives:1.   Describe the ways in which the Teeter-Totter Wall was designed as both playful and an act of resistance.2.   List some of the types of materials the San Fratellos have worked with in 3D printing.3.   Discuss how both architects view art and architecture in their work.4.   Explain the purpose of Emerging Objects and how it plays into Rael San Fratello projects.Credits: 0.5 AIA LU/HSWSpeaker: Aaron Prinz

Tracing Architecture again is teaming up with the AIA Arizona State Conference to create a special set of episodes around the conference theme: Inspire. During the conference, local leaders of the design community will be leading conversations with each of the conference speakers, and Tracing Architecture is sitting down with a few of them to learn more about who they are and catch a glimpse at what they'll be thinking about at this year's conference. In this episode, the second of two special episodes for the conference, we'll be speaking with Stephanie Lin, dean of The School of Architecture and principal of Present Forms, and Ronald Rael, principal of Rael San Fratello and professor of architecture and art practice at UC Berkeley.

Berkley professor Ronald Rael allowed me to visit his latest project in Center, Colorado and in addition to a full day of print footage we also did this podcast to dive into what motivates Prof. Rael to embark on such unique projects. The answer starts 1000s of years ago and it may surprise you. Submit a project I should feature! https://automate.construction/upload/ Automate Construction Podcast https://open.spotify.com/show/189kgzGxFcLLZKg3l0jua9?si=26d9b01cb67d4130 Automate Construction Website https://automate.construction/ How I make money$$$ Virtual Village - https://automate.construction/virtual-village/ “How to 3D Print a House” Course - https://automate.construction/course/ Book a Consulting Call - https://jarettgross.youcanbook.me/ MY EQUIPMENT Drone - https://amzn.to/3OIgGsm Camera - https://amzn.to/3NqPSMl Vlog Mic - https://amzn.to/3OyrzO6 Podcast Mic - https://amzn.to/3udRTVF Tripod - https://amzn.to/3bCNIw5 Japanese Handsaw - https://amzn.to/3bCNIw5 Follow on Social Media Facebook - https://www.facebook.com/automateconstruction/ Linkedin - https://www.linkedin.com/company/81956758 Reddit - https://www.reddit.com/r/AutomateConstruction/ Twitter - https://twitter.com/JarettGross Instagram - @automateconstruction TikTok - @automateconstruction Write an Article for www.Automate.Construction https://automate.construction/upload/

Drawn Together, a panel discussion on the dynamics drawn from living inside and outside the line of the Us-México Border. Presented by The Ant Project and the cultural institute of México in Miami. Participants include: Artists from the Truth Farm Collective: Arleene Correa Valencia, Ana Teresa Fernandez, Ronald Rael in a conversation moderated by the ANT Project Founder, Guadalupe García. Adriana Torres, Director of the Cultural Institute of México in Miami.

Ronald Rael, cofounder of 3D-printed wood maker Forust and chair of the Architecture department at the University of California Berkeley College of Environmental Design joins Mitch Ratcliffe. Ronald co-invented a method for printing wood with realistic grain using sawdust and lignin, the natural adhesive in wood.Forust's 3D-printing system can mimic the natural grains and colors of different species, including rare rosewood, mahogany and ebony that are the cause of widespread deforestation. Because it is printed, Forust wood can be shaped for use in furniture or and printed to service as a structural support in building — it opens a whole spectrum of novel applications of wood in construction. Learn about the potential uses of Forust's “digitally rematerialized wood.” 

This episode of the Woodworking Network Podcast was sponsored by the Executive Briefing Conference, being held September 8-10, 2021, at The Broadmoor in Colorado Springs, CO.Woodworking Network is a home for professional woodworkers, presenting technology, supplies, education, inspiration, and community, from small business entrepreneurs to corporate managers at large automated plants.You can find all of our podcasts at WoodworkingNetwork.com/podcasts and in popular podcast channels. Be sure to subscribe so you don't miss an episode. Thanks again to today's sponsor, FDMC magazine. If you have a comment or topic you'd like us to explore, contact me at will-dot-sampson @ woodworking network dot com. And we would really appreciate it if you fill out the survey at woodworking network.com/podcast-survey. Thanks for listening.Intro music courtesy of Anthony Monson.

Operating far outside the lines of what he calls the “humanitarian-industrial complex,” freelance culture hacker and FreeSpace founder Mike Zuckerman has been going into refugee settlements around the world, working with their citizens to create spaces and places that better serve their communities. While the NGOs wrung their hands over how to deliver aid in the COVID-19 pandemic, Zuck spent most of last year on the ground in Uganda, working with the people of Nakivale, a refugee settlement of 120,000 near the Tanzanian border. Together they built civic spaces including an amphitheater, a library, a radio station, and a Virtual Reality room in a shipping container, which they used to connect Nakivale to the Burning Man online multiverse last summer. With projects like these, Zuck is bringing the lessons of Black Rock City to other temporary spaces around the world, helping displaced persons overcome “agency deprivation disorder” and reclaim their innate plowers of self-reliance and self-expression.mikezuckerman.comfreespace.ioopportunigee.orgto.orgwearealight.org ourhabitas.com/riseburningman.org/culture/burning-man-arts/grants/globalLIVE.BURNINGMAN.ORG 

Operating far outside the lines of what he calls the “humanitarian-industrial complex,” freelance culture hacker and FreeSpace founder Mike Zuckerman has been going into refugee settlements around the world, working with their citizens to create spaces and places that better serve their communities. While the NGOs wrung their hands over how to deliver aid in the COVID-19 pandemic, Zuck spent most of last year on the ground in Uganda, working with the people of Nakivale, a refugee settlement of 120,000 near the Tanzanian border. Together they built civic spaces including an amphitheater, a library, a radio station, and a Virtual Reality room in a shipping container, which they used to connect Nakivale to the Burning Man online multiverse last summer. With projects like these, Zuck is bringing the lessons of Black Rock City to other temporary spaces around the world, helping displaced persons overcome “agency deprivation disorder” and reclaim their innate plowers of self-reliance and self-expression.http://www.mikezuckerman.comhttp://freespace.iohttps://opportunigee.orghttps://burningman.org/culture/burning-man-arts/grants/globalLIVE.BURNINGMAN.ORG

…en de telefoon gaat over in de Amerikaanse staat Colorado, om precies te zijn bij architect Ronald Rael. Hij won vorige week een prestigieuze internationale prijs voor het “Design of the Year”: En wel: een wip, dwars door het metershoge stalen hek dat president Donald Trump liet bouwen tussen de zustersteden Juárez in Mexico en El Paso in Amerika. Collega Edwin Koopman belde Rael op en vroeg hoe hij op het idee kwam.

主播 蒋璐阳、申舶良 ``` ``` 嘉宾 李汉威、方阳（当代艺术线上虚拟展览空间“史莱姆引擎”创始人） ``` BoomEar艺术播客的第17期节目，我们访问了当代艺术线上虚拟展览空间“史莱姆引擎”的两位发起人李汉威和方阳，请他们谈谈“史莱姆引擎”式线上虚拟展览从2017年至今的发展历程，包括展览理念、与艺术家的合作、使用的软件、受“后网络艺术”的影响等细节内容，并涉及两人对游戏产业与艺术市场的理解。 ``` 在本期节目中，你将听到以下内容 00:35  本期节目的选题缘起 02:55  史莱姆引擎简介 04:50  史莱姆引擎的创办缘由 05:40  后网络艺术、电影与游戏的影响 10:15   史莱姆引擎用哪些软件创作 11:46   史莱姆引擎的展览理念 14:09  史莱姆引擎怎样与艺术家合作 20:12  史莱姆引擎怎样看游戏产业 25:18  虚拟展览能否被艺术市场接受 26:43  史莱姆引擎近期展讯+结束语 ```  李汉威和方阳在工作中，2019 ``` 本期节目中提到的史莱姆引擎展览 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/fzw2axlu.jpg “超距感应”(第九回展): https://www.slimeengine.com/超距感应-remote-sensing/ https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/TG4A3qIu.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/7HGz-NUH.jpg “百人展 | 海洋”: https://www.slimeengine.com/百人展-海洋/ https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/dIcgyCsp.jpg “版图”: https://www.slimeengine.com/版图/ https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/2XUDWdo0.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/BBkJybMi.jpg “头条”: https://www.slimeengine.com/headlines/ （本期节目图片全部由史莱姆引擎提供） ``` ``` 本期节目相关资源链接 史莱姆引擎官方网站 https://www.slimeengine.com 后网络 https://en.wikipedia.org/wiki/Post-Internet 《阿凡达》 https://movie.douban.com/subject/1652587/ 《2001太空漫游》 https://movie.douban.com/subject/1292226/ 《最终幻想7：圣子降临》 https://movie.douban.com/subject/1422063/ 《GTA5》(侠盗猎车手5) https://baike.baidu.com/item/侠盗猎车手5/9308517?fr=aladdin Steam  https://store.steampowered.com C4D  https://www.maxon.net/cn/产品/cinema-4d/cinema-4d/ 3ds Max https://www.autodesk.com/products/3ds-max/overview ZBrush https://pixologic.com 史莱姆 https://zh.wikipedia.org/wiki/史莱姆 没顶画廊 http://www.madeingallery.com/ 胡芮 https://hurui.ooo/2019 朱峰毅 https://fengyizhu.studio 《刺客信条：大革命》 https://baike.baidu.com/item/刺客信条：大革命/13572688 《死亡搁浅》 https://baike.baidu.com/item/死亡搁浅/19778995?fr=aladdin 《Superliminal》 https://www.epicgames.com/store/en-US/product/superliminal/home 氪金 https://baike.baidu.com/item/氪金/3616368?fr=aladdin 新时线媒体艺术中心(CAC)展览“We=Link: 十个小品” http://www.chronusartcenter.org/welink-ten-easy-pieces/ ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/PYVn3iYx.png 创立于2017年，史莱姆引擎当代艺术空间由李汉威、刘树臻与方阳共同策划与运营，致力于开发前所未有的作品创作形态、展览策划与观展方式，借由不受时空限制的虚拟世界呈现丰富的当代艺术形态。 ``` ``` 相关节目链接： Episode 2: 李振华: 新媒体艺术还是否新? (https://www.boomear.fm/2) Episode 5: 杨福东+谭卓: 在美术馆拍古装影像 (https://www.boomear.fm/5) Episode 16: Ronald Rael: 应对隔离与封锁的“设计行动主义” (https://www.boomear.fm/16) ``` ``` BoomEar特邀音乐创作：陈少琪 BoomEar 网站：www.boomear.fm FT中文网BoomEar频道： http://www.ftchinese.com/channel/boomear 亦可在Apple Podcast、喜马拉雅fm、新浪微博搜索“BoomEar”订阅。 Special Guests: 方阳 Fang Yang and 李汉威 Li Hanwei.

主播 蒋璐阳、申舶良 ``` ``` 嘉宾 令狐磊: 资深杂志人、生活方式提案人 Andrew Tuck: Monocle主编 James Chambers: Monocle亚洲区主编 Winy Maas: 建筑师，MVRDV联合创始人 ``` Monocle从一本杂志开始，扩展出品类丰富的商业渠道，成为一个传奇媒体品牌，以及全球城市生活方式的引领者。从Monocle去年11月在中国成都举办的“品质生活论坛”出发，BoomEar采访了Monocle团队的两位核心成员Andrew Tuck与James Chambers、著名建筑师Winy Maas、资深杂志人与生活方式提案人令狐磊，与他们深入探讨Monocle的创办理念、发展历程、商业模式，以及Monocle模式能否在中国复制、Monocle怎样影响中国的城市生活方式等问题。本期节目时长34分钟。 ``` 在本期节目中，你将听到以下内容 00:24 本期节目的选题缘起 01:50 传奇媒体品牌Monocle简介 05:01 令狐磊谈他眼中的Monocle 09:00 令狐磊谈Monocle与方所的合作 13:00 Tuck谈Monocle成都论坛的理念 16:51 Chambers谈Monocle的商业模式 19:24 Monocle模式在中国能否复制？ 26:10 Maas谈城市建筑的未来趋势 30:51 令狐磊谈Monocle对中国的意义 23:36 结束语 ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/9qoFjCSu.jpg 蒋璐阳在Monocle Cities Series现场采访Andrew Tuck与Winy Maas, 成都, 2019 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/WIMu4Jid.jpeg 蒋璐阳、申舶良在上海采访令狐磊与James Chambers (摄影: 吕凡) ``` ``` 本期节目提到的相关资源链接 Monocle网站 https://monocle.com Monocle 24电台 https://monocle.com/radio/ Tyler Brûlé https://en.wikipedia.org/wiki/Tyler_Brûlé Monocle Cities Series 论坛 https://monocle.com/content/The-Monocle-Cities-Series/ 令狐磊《如何开一间长得像Monocle Café的咖啡馆？》 https://mp.weixin.qq.com/s/lFnwMFlHnVkyfwryshc3RQ Monocle制作的影片《This is Chengdu》 https://monocle.com/film/business/this-is-chengdu/ Winkreative https://www.winkreative.com https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/Dm2SuReb.jpeg Monocle Cities Series 论坛现场，左起：Monocle创始人、总编Tyler Brûlé, 主编Andrew Tuck, 亚洲区主编James Chambers, 东京办公室负责人Fiona Wilson, 成都，2019 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/f45xOej-.jpeg Winy Maas在Monocle Cities Series现场发言 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/D-SkkK8W.jpeg 澳大利亚驻成都总领事林明皓发言（以上图片摄影: 蒋璐阳） https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/L4WEhUay.jpg 蒋璐阳在论坛现场提问（图片来源: 每日经济新闻） ``` ``` 《Wallpaper*》 https://www.wallpaper.com 《TIME》 https://time.com 《People》 https://people.com 《LIFE》 https://www.life.com 《The Economist》 www.economist.com/ James Daunt https://en.wikipedia.org/wiki/James_Daunt 方所 http://www.fangsuo.com 衡山和集 https://weibo.com/themixplace Aesop http://www.aesop.com AC Hotels https://ac-hotels.marriott.com CHAO Hotel http://ilovechao.com 太古里 https://zh.wikipedia.org/wiki/太古里 MVRDV https://www.mvrdv.nl The Why Factory https://thewhyfactory.com 创意阶层 https://baike.baidu.com/item/创意阶层 ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/Va201KJM.png 《Monocle》杂志第一期封面, 2007年3月 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/GR_zasDR.jpg Monocle《The Forecast》2020年刊与《The Escapist》2019年刊（以上图片来源: Monocle网站） https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/CvJxWf77.jpeg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/TGE4UkMD.jpeg Monocle在香港机场的专卖店（摄影:蒋璐阳） ``` ``` 往期相关节目 BoomEar第17期|Ronald Rael: 应对隔离与封锁的“设计行动主义” (https://www.boomear.fm/16) BoomEar第七期|Irma Boom: 伦勃朗大展的当代设计 (https://www.boomear.fm/7) BoomEar第八期|隋建国: 用3D打印变革雕塑创作 (https://www.boomear.fm/8) ``` ``` BoomEar特邀音乐创作：陈少琪 BoomEar 网站：www.boomear.fm FT中文网BoomEar频道： http://www.ftchinese.com/channel/boomear 亦可在Apple Podcast、喜马拉雅fm、新浪微博搜索“BoomEar”订阅。 Special Guests: Andrew Tuck, James Chambers, Winy Maas, and 令狐磊 Rocky Liang.

主播：蒋璐阳 嘉宾：Ronald Rael：设计行动主义者，伯克利加州大学建筑系系主任 ``` BoomEar艺术播客的第16期节目，主播蒋璐阳访问了2019年因在美国-墨西哥边境安装“跷跷板墙”走红全球社交媒体的设计行动主义者、伯克利加州大学建筑系系主任Ronald Rael，在当前新型冠状病毒引起全球恐惧的特殊时期，探讨艺术与设计如何应对隔离与封锁的局面、通过行动促进问题的解决。这是Rael首次接受中文媒体的采访。 ``` 在本期节目中，你将听到以下内容 00:00 “跷跷板墙”如何走红全球社交网络 01:04 我们为何在此时谈论隔离与封锁 03:41 美国-墨西哥边境墙的今昔 04:23 Real谈对边境墙兴趣的缘起和发展 08:57 边境墙与国际局势的微妙关系 10:54 Rael谈边境墙与对外来者的恐惧 13:57 Rael谈“跷跷板墙”的理念与实施 19:50 Rael谈什么是“设计行动主义” 23:42 Rael谈生土建筑与3D打印 26:07 结束语 ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/oFeBLxqd.jpeg 蒋璐阳与Ronald Rael在伯克利加州大学建筑系办公室采访 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/U6D7PsiP.jpg Ronald Rael与他的著作《边境墙作为建筑: 美国-墨西哥边境宣言》(摄影: Brittany Hosea-Small) ``` ``` 本期节目提到的相关资源链接 《边境墙作为建筑》(Borderwall As Architecture) Ronald Rael的边境墙研究著作 http://www.borderwallasarchitecture.com 《生土建筑》(Earth Architecture) Ronald Rael的生土建筑研究著作 https://www.papress.com/html/product.details.dna?isbn=9781568987675 Ronald Rael的instagram https://www.instagram.com/rrael/ Emerging Objects Ronald Rael联合发起的3D打印研究所 http://www.emergingobjects.com Rael San Fratello Ronald Rael与Virginia San Fratello联合创立的建筑工作室 https://www.rael-sanfratello.com 《纽约客》(New Yorker) 对“跷跷板墙”的视频报道 https://www.newyorker.com/culture/video-dept/border-town-life-defies-the-wall-in-borderlands Artsy评选的“2019年度十大公共艺术作品” https://www.artsy.net/article/artsy-editorial-best-public-art-2019 美国-墨西哥边境墙 https://zh.wikipedia.org/wiki/美墨边界围栏 《修墙》(Mending Wall) 罗伯特·弗罗斯特(Robert Frost)的诗 https://baike.baidu.com/item/补墙/8946085 福建土楼 https://zh.wikipedia.org/wiki/福建土楼 不安全: 流散与避难所的考察 (Insecurities: Tracing Displacement and Shelter) 纽约现代艺术博物馆(MoMA)举办的展览 https://www.moma.org/calendar/exhibitions/1653 ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/xvMWSVtD.jpeg Ronald Rael手持跷跷板走向美国-墨西哥边境墙 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/3ui_BMYs.jpeg 美国-墨西哥边境墙两边的居民通过跷跷板在一起玩耍 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/mgl21Lp8.jpg 《跷跷板墙》(Teeter-Totter Wall, 2014)作品方案曾参与纽约现代艺术博物馆(MoMA) “不安全: 流散与避难所的考察(Insecurities: Tracing Displacement and Shelter)”展览并被收藏 ``` ``` Ronald Rael与Virginia San Fratello的其他作品 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/20DN05KJ.jpg 泥土前沿 (Mud Frontiers, 2019)，通过3D打印建造的四个生土建筑，形态受到美国与墨西哥边境格兰德河(Rio Grande)沿岸古代居民生土建筑的启发 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/wwOjVbeK.jpg 重聚 (Reunite, 2018)，应美国艺术行动组织forfreedoms之邀设计的公路广告牌，对曾供职于加州交通局的平面艺术家John Hood的经典设计、警示边境移民交通事故的道路标志进行改造，支持被隔离在边境墙两边的家庭重聚 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/1JivASY4.jpg 珊瑚礁产卵床 (Coral Reef Seeding Units, 2018), Emerging Objects与SECORE International、加州科学院、Autodesk基金会联合开发的陶瓷产卵床，以3D打印的特殊形态吸引珊瑚幼虫入住，并为其提供优质的生长存活条件 (摄影: John Parkinson） https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/ZUzd6P2R.jpg 3D打印珍奇屋 (Cabin of 3D Printed Curiosities, 2018), 汇集Emerging Objects研制的多种材料和软、硬件，通过一座结构稳定、可抵御风雨的别致建筑，呈现3D打印技术革新人居环境的未来前景 (摄影: Matthew Millman) https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/DuLFyrAZ.jpg 盛开 (Bloom, 2015), 一个由840块特制的3D打印砖建造而成的冥想空间，其形态采用泰国的传统花式图案，产生美妙的光影效果，为革新3D打印建筑提供一种可能 (摄影: Matthew Millman) https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/tE6F9f0e.jpeg 泥屋 (Mud House, 2009), 建于美国德州沙漠小镇马尔法(Marfa)，受到当地风景、传统民居和极少主义艺术家Donald Judd作品的启发，在仙人掌与龙舌兰丛中远眺戴维斯山脉 (摄影: Matthew Millman) https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/1bsIegX_.jpg 普拉达马尔法 (Prada Marfa, 2005), 艺术家艾默格林与德拉塞特(Elmgreen & Dragset)的作品，由Ronald Rael与Virginia San Fratello担任建筑师，美国德克萨斯州的沙漠小镇——马尔法的高速公路边上建造一座戏仿的普拉达店，马尔法位于美国-墨西哥边境以北22英里 (以上图片来源: Rael San Fratello) ``` ``` 往期相关节目 BoomEar第七期|Irma Boom: 伦勃朗大展的当代设计 (https://www.boomear.fm/7) BoomEar第八期|隋建国: 用3D打印变革雕塑创作 (https://www.boomear.fm/8) BoomEar第九期|Adam Lindemann: 区块链将如何影响艺术收藏? (https://www.boomear.fm/10) ``` ``` BoomEar特邀音乐创作：陈少琪 BoomEar 网站：www.boomear.fm FT中文网BoomEar频道： http://www.ftchinese.com/channel/boomear 亦可在Apple Podcast、喜马拉雅fm、新浪微博搜索“BoomEar”订阅。 Special Guest: Ronald Rael.

When UC Berkeley architect Ronald Rael took his bright pink teeter totters to the U.S.-Mexico border wall, he didn't know that what he and his team did next would go viral. He just wanted to create a moment where people on both sides of the wall felt connected to each other. “Women and children completely disempowered this wall for a moment, for 40 minutes," says Rael. "There was a kind of sanctuary hovering over this event."Read the story and see photos on Berkeley News. See acast.com/privacy for privacy and opt-out information.

What is a border? It's a line on a map, a place where cultures mix and merge in beautiful, sometimes violent and occasionally ridiculous ways. And a border wall? An overly simplistic response to that complexity, says architect Ronald Rael. In a moving, visual talk, Rael reimagines the physical barrier that divides the United States and Mexico -- sharing satirical, serious works of art inspired by the borderlands and showing us the border we don't see in the news. "There are not two sides defined by a wall. This is one landscape, divided," Rael says. Hosted on Acast. See acast.com/privacy for more information.

O que é uma fronteira? É uma linha em um mapa, um local onde as culturas se misturam e se unem de maneiras belas, às vezes violentas e ridículas. E um muro de fronteira? "Uma resposta simplista demais para essa complexidade", diz o arquiteto Ronald Rael. Em uma palestra instigante e visual, Rael reimagina a barreira física que divide os EUA e o México, compartilhando obras de arte satíricas e sérias, inspiradas pelas regiões fronteiriças e nos mostrando a fronteira que não vemos nos noticiários. "Não há dois lados definidos por um muro. Isso é uma paisagem dividida", diz Rael.

¿Qué es una frontera? Es una línea en un mapa, un lugar donde las culturas se mezclan y se mezclan en formas hermosas, a veces violentas y en ocasiones ridículas. ¿Y un muro fronterizo? Una respuesta demasiado simplista a esa complejidad, dice el arquitecto Ronald Rael. En una conmovedora charla visual, Rael reinventa la barrera física que divide a Estados Unidos y México compartiendo obras de arte satíricas y serias inspiradas en las fronteras y nos muestra la frontera que no vemos en las noticias. "No hay dos lados definidos por un muro. Este es un paisaje dividido", dice Rael.

What is a border? It's a line on a map, a place where cultures mix and merge in beautiful, sometimes violent and occasionally ridiculous ways. And a border wall? An overly simplistic response to that complexity, says architect Ronald Rael. In a moving, visual talk, Rael reimagines the physical barrier that divides the United States and Mexico -- sharing satirical, serious works of art inspired by the borderlands and showing us the border we don't see in the news. "There are not two sides defined by a wall. This is one landscape, divided," Rael says.

국경은 무엇입니까? 지도상의 선입니다. 여러 문화가 아름답고 때로는 폭력적이며 때로는 우스꽝스러운 방법으로 섞이고 합쳐지는 곳입니다. 그리고 국경 장벽은 무엇입니까? 건축가 로널드 라엘(Ronald Rael)은 "문화의 복잡성에 대한 지나치게 단순한 대응"이라고 말합니다. 이 감동적이고 시각적인 이야기에서, 라엘은 미국과 멕시코를 나누는 국경 장벽을 재상상하며 이에 영감을 받은 풍자적이고 진지한 예술 작품들을 공유합니다. "벽으로 정의된 두 공간은 없습니다. 이것은 하나의 나누어진 풍경일 뿐입니다."라고 라엘은 말합니다.

Qu'est-ce qu'une frontière ? C'est une ligne sur une carte, un endroit où les cultures se mélangent et se combinent de façons magnifiques, parfois violentes et occasionnellement ridicules. Et un mur frontalier ? Une réponse excessivement simpliste à cette complexité, dit l'architecte Ronald Rael. Dans une intervention émouvante et visuelle, Rael repense la barrière physique qui sépare les États-Unis et le Mexique en partageant des œuvres d'art satiriques et sérieuses inspirées par les zones frontalière et en nous montrant la frontière que nous ne voyons pas aux informations. « Il n'y a pas deux côtés définis par un mur. Il y a un paysage, divisé, » dit Rael.

President Donald Trump will probably never build one foot of his wall. Still, today there are 650 miles of border wall already dividing the US and Mexico. It’s almost one-third of the entire border. It divides cities, families, private property, and even impacts wildlife and habitats. We journey to the border in this week’s WhoWhatWhy podcast, as Jeff Schechtman is joined by Ronald Rael, associate professor in the department of architecture at UC Berkeley. According to Rael, the borderlands are like a third nation, combining some of the best of language, food, and culture of the US and Mexico. More profoundly, the existing wall is just as much a place of connectivity as it is of division. Rael explains that the current wall is actually a form of architecture. As such it defines space and in so doing defines places. It keeps people apart, but he details how it also encourages the coming together of people in unique ways. Since we are putting them up, the current walls are structures that are always built on the US side of the border. The result are vast borderlands between the wall and Mexico. With no viable uses, this creates an otherworldliness in the areas that are sequestered behind it.  Rael points out that over the next 25 years, it will cost $49 billion just to maintain the existing structures. He speculates on what else could be built along the border with that money: things like massive solar fields or water treatment plants that would have a far greater and more positive impact on both the US and Mexico.

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael's designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael’s designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael’s designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael’s designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael’s designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile... Learn more about your ad choices. Visit megaphone.fm/adchoices

With the passage of the Secure Fence Act in 2006, the U.S. Congress authorized funding for what has become the largest domestic construction project in twenty-first century America. The result? Approximately 700 miles of fencing, barricades, and walls comprised of newly built and repurposed materials, strategically placed along the 1,954-mile international border between the United Mexican States and the United States of America. At an initial cost of $3.4 billion, the most current estimates predict that the expense of maintaining the existing wall will exceed $49 billion by 2032. Envisioned solely as a piece of security infrastructure—with minimal input from architects and designers—the existing barrier has also levied a heavy toll on the lives of individuals, communities, municipalities, and the surrounding environment. In Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary (UC Press, 2017), Professor Ronald Rael proposes a series of architectural designs that advocate for the transformation of the existing 700-mile-wall into a piece of civic infrastructure that makes positive contributions to the social, cultural, and ecological landscapes of the U.S.-Mexico borderlands. As both a muse and act of political protest, Rael’s designs challenge us to question the efficacy of the current barrier, while simultaneously stoking our imagination concerning its future. David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of the U.S.-Mexico Borderlands, the development of multi-ethnic/racial cities, and the evolution of Latina/o identity and politics. His research centers on the relationship between Latina/o politics and the metropolitan development of Orange County, CA throughout the 20th century. You may follow him on Twitter @djgonzoPhD. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ronald Rael is an applied architectural researcher, design activist, author, and thought leader in the fields of additive manufacturing and earthen architecture.

  Our podcast takes an unconventional look at whether the physical barrier that is being proposed to divide the United States from Mexico might be re-examined and found to have any aesthetic or redeeming value from an architectural standpoint.  Ronald Rael an associate professor of Architecture at Berkeley lobs ‘an artistic and intellectual hand grenade' … Continue reading EP 43 BORDERWALL

"Part historical account, part theoretical appraisal, and part design manifesto, Borderwall as Architecture is reminiscent of Rem Koolhaas’ Delirious New York in its sweeping assessment of both the sociocultural peculiarities and outlandish possibilities represented by a prominent structural element."—Blaine Brownell, Architect Magazine Borderwall as Architecture is an artistic and intellectual hand grenade of a book, and a timely re-examination of what the physical barrier that divides the United States of America from the United Mexican States is and could be. It is both a protest against the wall and a projection about its future. Through a series of propositions suggesting that the nearly seven hundred miles of wall is an opportunity for economic and social development along the border that encourages its conceptual and physical dismantling, the book takes readers on a journey along a wall that cuts through a “third nation”—the Divided States of America. On the way the transformative effects of the wall on people, animals, and the natural and built landscape are exposed and interrogated through the story of people who, on both sides of the border, transform the wall, challenging its existence in remarkably creative ways. Coupled with these real-life accounts are counterproposals for the wall, created by Rael’s studio, that reimagine, hyperbolize, or question the wall and its construction, cost, performance, and meaning. Rael proposes that despite the intended use of the wall, which is to keep people out and away, the wall is instead an attractor, engaging both sides in a common dialogue. Included is a collection of reflections on the wall and its consequences by leading experts Michael Dear, Norma Iglesias-Prieto, Marcello Di Cintio, and Teddy Cruz. Ronald Rael is Associate Professor in the departments of Architecture and Art Practice at the University of California, Berkeley. He is the author of Earth Architecture, a history of building with earth in the modern era that exemplifies new, creative uses of the oldest building material on the planet. The Museum of Modern Art and the Cooper Hewitt Smithsonian Design Museum have recognized his work, and in 2014 his creative practice, Rael San Fratello, was named an Emerging Voice by the Architectural League of New York.

Martha's guests this week are Benjamin Ludwig, Ronald Rael, Betsy Lerner, and John Freeman Gill.

Trump's border wall with UC Berkeley's Ronald Rael. Unusual baking techniques with Cake Wars winner Peter Tidwell, owner of The Mighty Baker. UCSD's Marc Andre Meyers explains why a weapons specialist wants to study nature. Middle East panel with University of Utah's Steven Lobell, John Macfarlane from Utah Valley University, and Fred Axelgard of BYU. BYU's Quint Randle on U2's Joshua Tree Anniversary Tour.

Imagine a border wall between the U.S. and Mexico not as a barrier, but as a piece of architecture that brings people together. That’s what UC Berkeley architect Ronald Rael does in his new book, 'Borderwall as Architecture: A Manifesto for the U.S.-Mexico Boundary.' Photos and story on Berkeley News: http://news.berkeley.edu/2017/04/05/borderwall-as-architecture-ronald-rael-podcast/Photo by Brittany Hosea-Small See acast.com/privacy for privacy and opt-out information.

Pankaj Mishra goes back to the Enlightenment to explain our age of anger; Ronald Rael imagines how architecture might dismantle a wall rather than construct it; and our editors offer up their favorite tales from the Emerald Isle. Sláinte! Episode extras: • Our St. Patrick’s Day Reading list • Martha McPhee on Edna O’Brien Tune in every two weeks to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Have suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org. See acast.com/privacy for privacy and opt-out information.

Pankaj Mishra goes back to the Enlightenment to explain our age of anger; Ronald Rael imagines how architecture might dismantle a wall rather than construct it; and our editors offer up their favorite tales from the Emerald Isle. Sláinte! Episode extras: • Our St. Patrick’s Day Reading list • Martha McPhee on Edna O’Brien Tune in every two weeks to catch interviews with the liveliest voices from literature, the arts, sciences, history, and public affairs; reports on cutting-edge works in progress; long-form narratives; and compelling excerpts from new books. Hosted by Stephanie Bastek. Have suggestions for projects you’d like us to catch up on, or writers you want to hear from? Send us a note: podcast [at] theamericanscholar [dot] org.  See acast.com/privacy for privacy and opt-out information.