Podcasts about third text

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Paloma Checa-Gismero talks about the many processes of re-evaluation, re-contextualization, and re-animation that designates an object as art. To illustrate this point, she calls our attention to the work of artists like Mierle Laderman Ukeles in the 1970s, or the 1989 exhibition titled Magiciens de la terre at the Centre Georges Pompidou in Paris. She develops the concept of aesthetic conversions in her new book about the histories and geographies of art biennials, which, in the post cold war world, converted subaltern aesthetic genealogies into forms that were legible to a nascent cosmopolitan global elite. Paloma Checa-Gismero is a historian of global contemporary art. She is Assistant Professor of Art History at Swarthmore College. Originally trained as an artist, she has been an active art critic since 2009. Her scholarship and criticism have been published in Afterall, FIELD, Third Text, The Journal of Modern Craft, among others. She is the author of Biennial Boom: Making Contemporary Art Global (Duke University Press, 2024). Image: © 2023 Saronik Bosu. It is a tilted and warped version of the capital letter B that spills out of the frame, its three parts in maroon, violet, and deep green, against a yellow ochre background. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/south-asian-studies

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Evacuee Cinema: Bombay and Lahore in Partition Transit, 1940–1960 (Cambridge UP, 2022) offers a new history of the partition. Based on previously unexamined archives and rare films, it investigates key questions around film production, partition and the provenance of the nation in South Asia: How did partition transform the dynamic and transcultural film industry of undivided India? What has been the relationship between Pakistani and Indian Cinema? Could the cinematic rendition of Pakistan have preceded its territorial realisation? Focussing on the unravelling of artistic and economic ties between two formerly intimate film cities of colonial India, Bombay and Lahore, this book follows their transition into the nationally discrete production centres of independent India and Pakistan. Pursuing inflections, migrations and shifts across national lines, Evacuee Cinema explains how filmmaking interpreted national danger and examines the expulsion and rehabilitation that went into the making of ‘Indian' and ‘Pakistani' cinema. Dr Salma Siddique is research faculty at Humboldt Universität zu Berlin, specializing in South Asian popular cinema, Islamicate screen cultures and immigrant media. Her research has been published in Feminist Media Histories, Third Text, and Comparative Studies of South Asia, Africa and the Middle East. She is a core editor at BioScope: South Asian Screen Studies, published by Sage. Priyam Sinha recently graduated with a PhD from the South Asian Studies Programme at the National University of Singapore. Her interdisciplinary academic interests lie at the intersection of social media and internet studies, platforms and film studies, disability studies, production cultures, affect studies, creative media industries and cultural studies. She can be reached at here. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

#culturalappropriation #indigenousculture #religiousstudies Academic definition of cultural appropriation, what is culture and what heritage, the main elements that determine if that's appropriation. Colonialism, Power inequality, Consumer Capitalism, and damaging or harming the cultural group are essential elements underpinning this concept. CONNECT & SUPPORT

À l'occasion du festival Tendresse! organisé par le Centre d'artistes Caravansérail de Rimouski, toutEs ou pantoute a rencontré les artistes du collectif BOTES CLUB dans le cadre d'un épisode enregistré devant public. BOTES CLUB | DÉCIDER ENTRE ROBOTES est un projet de création de Sarah Chouinard-Poirier, Marie-Andrée Godin et Maude Veilleux. Processuel, il s'inscrit entre l'installation, la robotique, la performance et l'écriture. Également relationnel, il s'intéresse aux vécus expérientiels et aux savoirs situés d'un groupe de travailleuses du soin ayant œuvré en contexte de pandémie. Il propose de miser sur le sexisme reconduit par les intelligences artificielles pour explorer le potentiel des robotEs domestiques et assistantes personnelles. Au moment d'enregistrer cet épisode, le collectif achevait tout juste une résidence de création d'une semaine à Caravansérail dans le cadre de Tendresse! Cette discussion animée sur le processus et la démarche du projet explore le soin, les rapports de domination, et les enjeux féministes et éthiques derrière le développement d'intelligences artificielles. Une rencontre sensible où arts et sciences s'allient pour penser un horizon plus solidaire. On partage avec vous cette rencontre qui nous a beaucoup inspiré.e.s et fait réfléchir. Bonne écoute! Le festival Tendresse! https://tendresserimouski.org Le Centre d'artistes Caravansérail La résidence de création de BOTES CLUB https://tendresserimouski.org/botes L'activité toutEs ou pantoute X BOTES CLUB devant public https://tendresserimouski.org/pantoute Pour découvrir le travail de Marie-Andrée Godin Pour découvrir le travail de Sarah Chouinard-Poirier Les livres de Maude Veilleux Merci à l'équipe de Caravansérail pour l'invitation dans la programmation de Tendresse! Merci à François Landry à la prise de son et Marie-Eve Boisvert au mixage sonore. Merci au Studio La Marcelle pour le prêt de matériel. Illustration de l'événement par Licré toutEs ou pantoute est créé, réalisé, produit et animé par Laurie Perron et Alexandra Turgeon. Pour aller plus loin: Vidéo de l'aboutissement et du processus de création de BOTES CLUB en résidence chez Ada X. Quelles alliances entre robotEs et soignant·es?, discussion en fin de résidence des trois artistes présentée au Parc La Fontaine devant un cercle d'auditeurs.rices. Passage de BOTES CLUB au Balados Utopia Liste de lecture avec plusieurs balados pour aller plus loin sur les thématiques abordée, créée par BOTES CLUB Références: Daphné B. Choses sérieuses, Big data troubadour, 5 mai 2023 Mackinnon, Lee and Bonde-Thylstrup, Nanna and Veel, Kristin (2018) The Techniques and Aesthetics of Love in The Age of Big Data. Journal of Aesthetics a n d Culture, 10 (3). p p. 1-7. ISSN 2000-4214. Mackinnon, Lee (2018) Repeat after me: the automatic labours of love, Journal of Aesthetics & Culture, 10:3, 1438735, DOI: 10.1080/20004214.2018.1438735 Mackinnon, Lee (2019) Mineralogy: A Digital Account. Science Museum Group Journal, 1 2. ISSN 2054-5770 Mackinnon, Lee (2017) Artificial Stupidity and the End of Men. Third Text, 31 (5-6). p p. 603-617. ISSN 0952-8822 Pour ne rien manquer de nos annonces Suivez toutEs ou pantoute sur Facebook et Instagram Visitez le toutesoupantoute.com Abonnez-vous à toutEs ou pantoute sur votre application balado Supportez toutEs ou pantoute! Abonnez-vous sur Patreon pour du contenu exclusif! Visitez notre boutique en ligne pour des objets d'art ou des objets utiles inspirés par notre podcast. Vous pouvez aussi faire un don non récurrent ici

Pauline de Souza is the founder and director of Diversity Art Forum. She is a writer and is Senior Lecturer in the Visual Arts Cluster, Fine Art Department at the University of East London,  She, is the programmer for Cultural Manoeuvres at the University of East London and Senior Fellow of the Higher Education Academy.Pauline is involved in the Beacon Collective and sits on the TATE British Artists Network Steering Group. She has written for Feminist Visual Culture, Women Artists and Modernism, Leap into Action, for Third Text, Studio International and other publications. 

Simon Morley - By Any Other Name - Simon is a busy fella with many talents. He is a British artist and art historian. He is the author of several books and catalogue essays on modern and contemporary art, and his art reviews and essays have been published in numerous magazines and journals, including the TLS, Modern Painters, Tate Magazine, the Independent on Sunday, World Art and Third Text. Available via Pre-Sale on Amazon at This is Simon Morley's first visit to the Break It Down Show. He joins us to discuss his new book, "By Any Other Name; A Cultural History of the Rose. So if you love roses, definitely hit play on this ep, and even if you don't… You may start loving them. Please support the Break It Down Show by doing a monthly subscription to the show  All of the money you invest goes directly to supporting the show!   For the  of this episode head to  Haiku Simon Morley, yall Artist, historian, Brit Rose-related ep!   ​Similar episodes: Erik Kleinsmith  Perttu Polonen  Mike Guardia  Join us in supporting Save the Brave as we battle PTSD.  Executive Producer/Host: Pete A Turner  Producer: Damjan Gjorgjiev  Writer: Dragan Petrovski  The Break It Down Show is your favorite best, new podcast, featuring 5 episodes a week with great interviews highlighting world-class guests from a wide array of shows.

Episode SummaryAnother critical and commercial success of the Disney Renaissance, The Lion King (1994) was a beast at the box office and on home video. It was also the first animated Disney animated film set in Africa. Despite (relatively) diverse casting and the incorporation of authentic African music, there's still plenty of racism to discuss, with some homophobia and questionable political commentary thrown in! Episode BibliographyBBC NEWS | Entertainment | Disney settles Lion song dispute. (2006, February 16). BBC News. Retrieved May 14, 2022, from http://news.bbc.co.uk/2/hi/entertainment/4721564.stmBradley, B. (2015, January 27). Was 'The Lion King' Copied From A Japanese Cartoon? Here's The Real Story. HuffPost. Retrieved May 15, 2022, from https://www.huffpost.com/entry/lion-king-kimba_n_6272316Carter Jackson, K. (2019, July 17). The true story behind ‘The Lion King.' The Washington Post. https://www.washingtonpost.com/outlook/2019/07/17/true-story-behind-lion-king/Červinka, P. (2015, April 24). The Making of The Lion King. YouTube. Retrieved May 21, 2022, from https://www.youtube.com/watch?v=OFL5xbxc0AYDaly, S. (1994, July 8). Mane Attraction. Entertainment Weekly, (230). https://web.archive.org/web/20140904092026/http://www.ew.com/ew/article/0,,302837,00.htmlDeneroff, H., & Ladd, F. (2009). Footnote to History: Kimba versus Simba - The Uproar. In Astro Boy and Anime Come to the Americas: An Insider's View of the Birth of a Pop Culture Phenomenon (pp. 62-64). McFarland, Incorporated, Publishers.Denham, H. (2019, July 26). Lion King: There's a 25-year-old intellectual property dispute surrounding the Disney film. The Washington Post. Retrieved May 16, 2022, from https://www.washingtonpost.com/business/2019/07/26/lion-king-has-been-clouded-by-intellectual-property-controversy-years-heres-story-behind-it/Ebert, R. (1994, June 24). The Lion King movie review & film summary (1994). Roger Ebert. Retrieved May 15, 2022, from https://www.rogerebert.com/reviews/the-lion-king-1994Elahi, B. (2001). Pride Lands: The Lion King, Proposition 187, and White Resentment. Arizona Quarterly: A Journal of American Literature, Culture, and Theory, 57(3), 121-152. doi: 0.1353/arq.2001.0001Fallon, K. (2014, June 24). 'The Lion King' Turns 20: Every Crazy, Weird Fact About the Disney Classic. The Daily Beast. Retrieved May 28, 2022, from https://www.thedailybeast.com/the-lion-king-turns-20-every-crazy-weird-fact-about-the-disney-classicGavin, R.  (1996). "The Lion King" and "Hamlet": A homecoming for the exiled child. The Universe of Literature, 85(3), 55-57. Giddings, S. (1999). The circle of life: Nature and representation in Disney's The Lion King. Third Text, 49, 83-92. doi: 10.1080/09528829908576825Giles Coren, G. (1994, July 20). Disney's Heart of Darkness. The Times, 12.Gooding-Williams, R.  (1995). Disney in Africa and the inner city: On race and space in The Lion King. Social Identities, 1(2).Hahn, D. (Director). (2011). The Lion King A Memoir Don Hahn [Film]. https://www.youtube.com/watch?v=KoaPT4ijS-UHinson, H. (1994, June 24). WashingtonPost.com: 'The Lion King'. The Washington Post. Retrieved May 14, 2022, from https://www.washingtonpost.com/wp-srv/style/longterm/review96/lionkinghin.htmJapanese animator protests 'Lion King'. (1994, August 18). UPI.com. Retrieved May 15, 2022, from https://www.upi.com/Archives/1994/08/18/Japanese-animator-protests-Lion-King/4250777182400/Klass, P. (1994, June 19). A ‘Bambi' for the 90's, via Shakespeare. The New York Times. https://www.nytimes.com/1994/06/19/movies/film-view-a-bambi-for-the-90-s-via-shakespeare.htmlKelts, R. (2007). Japanamerica: How Japanese Pop Culture Has Invaded the U.S. St. Martin's Publishing Group.King, S. (2011, September 15). A 'Lion's' Tale. Los Angeles Times. https://web.archive.org/web/20111024102445/http://articles.latimes.com/2011/sep/15/entertainment/la-et-lion-king-20110915Knolle, S. (2014, June 14). 'The Lion King': 20 Things You Didn't Know About the Disney Classic. Moviefone. Retrieved May 14, 2022, from https://web.archive.org/web/20140617142313/http://news.moviefone.com/2014/06/14/lion-king-facts/Kring, J. (2019, July 19). How the Original 'Lion King' Came to Life. The Ringer. Retrieved May 15, 2022, from https://www.theringer.com/movies/2019/7/19/20699678/the-lion-king-original-animation-1994The Lion King. (n.d.). Wikipedia. Retrieved May 14, 2022, from https://en.wikipedia.org/wiki/The_Lion_KingThe Lion King. (2000, December 8). Rolling Stone. https://web.archive.org/web/20080429201931/http://www.rollingstone.com/reviews/movie/5947315/review/5947316/the_lion_kingThe Lion King (1994). (n.d.). Box Office Mojo. Retrieved May 14, 2022, from https://www.boxofficemojo.com/title/tt0110357/The Lion King (1994). (n.d.). Box Office Mojo. Retrieved May 15, 2022, from https://www.boxofficemojo.com/title/tt0110357/?ref_=bo_se_r_1Maslin, J. (1994, June 15). Review/Film; The Hero Within The Child Within. The New York Times. Retrieved May 25, 2022, from https://www.nytimes.com/1994/06/15/movies/review-film-the-hero-within-the-child-within.htmlMasters, K. (2014, April 9). The Epic Disney Blow-Up of 1994: Eisner, Katzenberg and Ovitz 20 Years Later. The Hollywood Reporter. Retrieved May 17, 2022, from https://www.hollywoodreporter.com/news/general-news/epic-disney-blow-up-1994-694476/Mikkelson, D. (1996, December 31). Is the Word 'Sex' Hidden in 'The Lion King'? Snopes.com. Retrieved May 16, 2022, from https://www.snopes.com/fact-check/the-lion-king/Minkoff, R., & Allers, R. (Directors). (1994). The Lion King [Film]. Walt Disney Pictures.Morton, J. (1996). Simba's revolution: Revisiting history and class in The Lion King. Social Identities, 2(2).Movieclips. (2016, August 16). In the Heat of the Night (4/10) Movie CLIP - They Call Me Mr. Tibbs (1967) HD. YouTube. Retrieved May 25, 2022, from https://www.youtube.com/watch?v=i6n8VyqaCQ4Orenstein, N. (2014, September 15). Berkeley's colony of spotted hyenas closes after 30 years. Berkeleyside. Retrieved May 16, 2022, from https://www.berkeleyside.org/2014/09/15/berkeleys-captive-colony-of-spotted-hyenas-closes-after-30-years?doing_wp_cron=1652051660.0969309806823730468750Rachele. (n.d.). "The Lion King," - an adult film? ENG 1131 Shakespeare Through Media. Retrieved May 25, 2022, from http://plaza.ufl.edu/r.harvey/finalpaper.htmlRicker, A.  (1996). The Lion King animated storybook: A case study of aesthetic and economic power. Critical Arts, 10(1).Rob Minkoff. (n.d.). Wikipedia. Retrieved May 17, 2022, from https://en.wikipedia.org/wiki/Rob_MinkoffRoth, M. (1996, March). The Lion King A short history of Disney-fascism. Jump Cut, (40), 15-20. http://www.ejumpcut.org/archive/onlinessays/JC40folder/LionKing.htmlRoth, M. (2005). Man is in the Forest: Humans and Nature in Bambi and The Lion King. Invisible Culture: An Electronic Journal for Visual Culture, (9). Retrieved May 22, 2022, from https://www.rochester.edu/in_visible_culture/Issue_9/roth.htmlSiskel, G., & Ebert, R. (2019, February 22). Speed, The Lion King, The Endless Summer II, City Slickers II: The Legend of Curly's Gold, 1994 – Siskel and Ebert Movie Reviews. Siskel and Ebert Movie Reviews. Retrieved May 16, 2022, from https://siskelebert.org/?p=5412Stenberg, D. (1996). The circle of life and the chain of being: Shakespearean motifs in “The Lion King.” Shakespeare Bulletin, 14(2), 36-37.Strzelczyk, F.  (2008). Fascism and family entertainment. Quarterly Review of Film and Video, 25(3), 196-211. doi: 10.1080/10509200601091433Takeuchi, H. (n.d.). Kimba the White Lion. Wikipedia. Retrieved May 16, 2022, from https://en.wikipedia.org/wiki/Kimba_the_White_LionTLKCoL. (2017, March 24). Pride of The Lion King | Behind the Scenes Documentary (Making of). YouTube. Retrieved May 21, 2022, from https://www.youtube.com/watch?v=5bLD2gZhmoUVisram, T. (2019, July 19). Disney replaced the first Lion King's racist hyenas. Fast Company. Retrieved May 22, 2022, from https://www.fastcompany.com/90379067/critics-said-the-first-lion-kings-hyenas-were-problematic-disney-revamped-themWard, A. R.  (1996). The Lion King's mythic narrative. Journal of Popular Film & Television, 23(4).Willman, C. (1994, May 15). SUMMER SNEAKS '94 : You Can't Hide His Lion Eyes : It's no coincidence that Disney's latest jungle villain bears a wicked resemblance to Jeremy Irons; just ask the animator. Los Angeles Times. https://web.archive.org/web/20141109000340/http://articles.latimes.com/1994-05-15/entertainment/ca-57883_1_jeremy-ironsWong, V.  (1999). Deconstructing Walt Disney's “The Lion King.” Kinema: A Journal for Film and Audiovisual Media, 1-7. doi: 10.15353/kinema.vi.895Thanks to Katie Seelen for her research assistance. 

Today Door is looking at "I See Red: Target" by Jaune Quick–to–See Smith, executed in 1992. It's the first work on canvas by a Native American artist accessioned by the National Gallery of Art in Washington, D.C.The transcript for the episode is available here.References“I See Red: Target,” 1992 “Coyote's Ransom,” Third Text, Erin Valentino, 2008“'It's like we don't exist': Jaune Quick-to-See Smith on Native American artists,” The Guardian, Nadja Sayej, 2020 “Denadagohvgee (I Will See You Again),” National Gallery of Art Blog, Shana Condill, 2020 “Orange Car Crash Fourteen,” Andy Warhol, 1963“Target, Johns (English),” [audio recording] 

Framework for Resilience is a three-part series of online conversations which bring together activists, artists, researchers and educators to think about the world we are creating, the world we are destroying, the systems which will fall, and those which should prevail. In this second episode of the series, we start from a collection of questions of how we engage with time, land and ownership: What happens if we consider that the very earth and trees, as well as non-sentient beings like AI and stones, have rights? How can we understand time and consequence differently: understanding that indigenous deaths caused climate change in 1600, and prevent the repeating of history? How do we peacefully transform a racialised colonial system which values the very commodities which are destroying lives, bodies, and lands? Episode host Dr. Nicola Triscott (Director/CEO of FACT) and mediator Helen Starr (Curator), and gathered speakers Jack Tan (Artist), Himali Singh Soin (Writer, Artist) and Nabil Ahmed (Artist, Educator), consider how Western principles do not allow for ethical collaboration between beings, focusing rather on exploitation and one-sided gains. They instead explore how indigenous approaches might influence the way we establish ideas of kinship, and open up our sense of community to include other forms of existence, particularly in the future. If we approach the world with a different sense of time, and with empathy for all modes of existence, we might be able to create new forms of collaboration and notions of belonging. The reading list for this conversation can be found here. ------ ABOUT FRAMEWORK FOR RESILIENCE This online conversation is part of The Living Planet, FACT’s year-long season which focuses on the non-human, and deals with themes such as climate change, ecology and communication, as well as the violence of ‘othering’. This series will inform our programme for the rest of the year which focuses on systems of knowledge and classification in the formation of identity and the exercise of power. They also form part of Artsformation, a research project which seeks to identify new ways of working, specifically at the intersection between art, society and technology, to overcome current social crises including justice, democracy and climate. This project has received funding from the European Union’s Horizon 2020 research and innovation programme. The title for these sessions is taken from the artwork, PESTS, by Shonagh Short. Commissioned by FACT in 2020 for FACT Together. ABOUT HELEN STARR Helen is an Afro-Carib curator, producer and cultural activist from Trinidad, WI. She began curating exhibitions with artists such as Susan Hillier, Cindy Sherman and Marcel Duchamp in 1995. Helen founded The Mechatronic Library in 2010, to give marginalised artists access to technologies such as Game Engines, Virtual Reality (VR), Augmented Reality (AR). Helen has worked with many public institutions such as Wysing Art Centre, FACT, Liverpool and QUAD in Derby. Being Indigenous-American Helen is interested in how digital artforms transform our understanding of reality by world-building narratives through storytelling and counter-storytelling. How, by “naming one’s own reality” we can experience the Other. Helen has commissioned projects from artists such as Rebecca Allen, Danielle Braithewaite-Shirley, Anna Bunting-Branch, Megan Broadmeadow, Aliyah Hussain and Salma Noor. Helen believes that speculative artworks can give a glimpse of a future filled with hope. Helen is on the board of QUAD, Derby and in 2020 she co-founded DAAD Futurism with Amrita Dhallu and Salma Noor. ABOUT JACK TAN Jack uses law, social norms and customs as a way of making art. He creates performances, sculpture and participatory projects that highlight the rules that guide human behaviour. Jack trained as a lawyer and worked in civil rights NGOs before becoming an artist. His Ph.D research explored legal aesthetics and performance and he co-edits the Art/Law Journal. Recent projects include Four Legs Good (2018) a revival of the medieval animal trials for Compass Festival Leeds and V&A London; his Singapore Biennale presentation Voices From The Courts examining the vocality of the State Courts of Singapore (2016), Law’s Imagination (2016) a curatorial residency at arebyte exploring legal aesthetics; his solo exhibition How to do things with rules (2015) at the ICA Singapore; and Closure (2012), a year-long residency and exhibition at the UK Department for Health looking at the liquidation of their social work quango. Jack has also taught sculpture at the Royal College of Art and University of Brighton, and politics at Goldsmiths. ABOUT HIMALI SINGH SOIN Himali is a writer and artist based between London and Delhi. She uses metaphors from outer space and the natural environment to construct imaginary cosmologies of interferences, entanglements, deep voids, debris, delays, alienation, distance and intimacy. In doing this, she thinks through ecological loss, and the loss of home, seeking shelter somewhere in the radicality of love. Her speculations are performed in audio-visual, immersive environments. Her almanac ‘we are opposite like that’, comprises missing paraphernalia from polar archives, false philosophies, unreliable observations from the ship, love letters, ekphrastic poems, and made-up maps. It marks the culmination of the eponymous interconnected body of work (since 2017) exploring the uninhabited parts of the Arctic and Antarctic circles from the perspective of ice, and its uncanny bearing on the rest of the world. ABOUT NABIL AHMED Nabil Ahmed is a transdisciplinary scholar and writer. He leads INTERPRT, an environmental justice project that investigates and advocates for the criminalisation of ecocide under international law. INTERPRT’s long term research has been exhibited most recently at the Warsaw Biennale/The Museum of Modern Art in Warsaw, Beirut Arts Centre and The Museon museum for science and culture in The Hague. He has written for Third Text, Candide: Journal for Architectural Knowledge, MIT Press, Routledge, Documenta, Volume magazine, Sternberg Press, Mousse Publishing, Scientific Reports, Archeological and Environmental Forensic Science, among others. He holds a PhD from the Centre for Research Architecture He has taught and lectured extensively in the UK and internationally.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the third in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Performing Innocence: Primitive / Incipient The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914 Moderator: James Smalls, Professor and Chair of Visual Arts, University of Maryland, Baltimore County Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Abstract: Projections of different ideas of innocence became entangled in the representation of Black US character in fin-de-siècle Paris. By pairing new research on blackface minstrelsy and painter Henry Ossawa Tanner in the American Art Association of Paris with the displays of Blackness curated by Black intellectuals in the “Exhibit of American Negroes” in the Paris Universal Exposition of 1900, Professor Burns argues that American minstrelsy in Paris built a racialized “primitive” identity that caricatured Black men as effeminate and emasculated, while the latter exhibit constructed innocence grounded in claims of youth, newness, and incipient culture. While the curators staunchly and effectively rejected narratives of primitivism, these tropes of the new simultaneously paralleled and reinforced performances of cultural innocence in the largely white US community in Paris. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Dr. James Smalls is an art historian, with a focus on the intersections of race, gender, and queer sexuality in the art and visual culture of the nineteenth century, as well as the art and visual culture of the black diaspora. He is the author of Homosexuality in Art (Parkstone Press, 2003) and The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts (2006). He has published essays in a number of book anthologies and prominent journals, including American Art, French Historical Studies, Third Text, Art Journal, and Art Criticism. His book chapters and articles include: Menace at the Portal: Masculine Desire and the Homoerotics of Orientalism (2016), The Soft Glow of Brutality (2015), A Teacher Uses Star Trek for Difficult Conversations on Race and Gender (2015), Racial Antics in Late Nineteenth-Century French Art and Popular Culture (2014), Sculpting Black Queer Bodies and Desires: The Case of Richmond Barthé (2013), and Exquisite Empty Shells: Sculpted Slave Portraits and the French Ethnographic Turn (2013). Smalls is currently completing a book entitled Féral Benga: African Muse of Modernism. In 2006, Smalls curated a two-part exhibition at the Baltimore Museum of Art on the art, career, and international influence of the African American artist, Henry Ossawa Tanner. In 2009-2010, he served as the Consulting Editor for the five-volume set of The Grove Encyclopedia of American Art. In 2015 he was appointed to the Advisory Board for The Archives of American Art Journal. Dr. Smalls holds degrees from the University of California, Los Angeles (UCLA), in Ethnic Arts (B. A.), and Art History (M. A., and Ph.D.). He has taught at Rutgers University, Columbia University, and at the University of Paris.

Episode SummaryArt has long been considered a commodity but, thanks in large part to a technologically connected world, accessibility and availability have helped turn creative genius into “cultural capital.” Chad Elias combines an art history lecture with a business seminar to provide a comprehensive lesson on the ways art adds value beyond its beauty. Syd reconnects with his former teacher to discuss Andy Warhol, Banksy, and the business of art, in this episode of The Sydcast. Syd Finkelstein Syd Finkelstein is the Steven Roth Professor of Management at the Tuck School of Business at Dartmouth College. He holds a Master's degree from the London School of Economics and a Ph.D. from Columbia University. Professor Finkelstein has published 25 books and 90 articles, including the bestsellers Why Smart Executives Fail and Superbosses: How Exceptional Leaders Master the Flow of Talent, which LinkedIn Chairman Reid Hoffman calls the “leadership guide for the Networked Age.” He is also a Fellow of the Academy of Management, a consultant and speaker to leading companies around the world, and a top 25 on the Global Thinkers 50 list of top management gurus. Professor Finkelstein's research and consulting work often relies on in-depth and personal interviews with hundreds of people, an experience that led him to create and host his own podcast, The Sydcast, to uncover and share the stories of all sorts of fascinating people in business, sports, entertainment, politics, academia, and everyday life. Chad EliasChad Elias is an Assistant Professor of Art History at Dartmouth College and Tate Modern Research Fellow. His first book, Posthumous Images: Contemporary Art and Memory Politics in Post-Civil War Lebanon, was published by Duke University Press in 2018. Reviews of Posthumous Images have appeared in Arab Studies Quarterly, Art Journal, Art Papers, the Journal of Arabic Literature, Object, and Third Text. In collaboration with the Hood Museum, Chad organized a multidisciplinary symposium, “Futures Uncertain: A Symposium on Contemporary Art in the Anthropocene,” which explored questions relating to resource extraction, carbon imaginaries, species extinction and evocations of the deep past and worlds-to-come in contemporary art. Another research project analyzed how contemporary artists critically engage with artificial intelligence (AI), machine vision, virtual reality, and 3D printing as rapidly evolving forms that are marked by indeterminacies. The project argues that these technologies serve to unsettle identity formations that span ontological boundaries (i.e. between human and non-human actants) and established hierarchies that are encoded across racial and gender lines. Insights from this episode:Details on what contemporary art is, how it got started, and the impact that term has had on art history. Benefits to an artist of outsourcing their work and why art has become a business-class asset.Difficulties associated with pricing art, how new technology is impacting value, and where there is room for improvement.How the process of buying art is changing and is making art more accessible to greater audiences.Parallels between the art and business world and the success that happens when they intersect. How artists like Andy Warhol and Banksy capitalize on their art and how that has impacted the image of the value of art. Quotes from the show:“During the postmodern period, and in the aftermath, art became increasingly detached from the notion of manual or technical skill.” — Chad Elias [23:35]“It's no accident that contemporary artists also start to think of their work as something that is no longer just tied to materialized forms of production but actually to the production of ideas.” — Chad Elias [25:31]On finding the parallels between art and business: “It involves dispensing with the mythology of the romantic artist who is somehow detached from commercial and economic interest and just makes work for the love of art.” — Chad Elias [26:31]“It's difficult to determine the pricing systems that operate in contemporary art, partly because of the opacity of the system.” — Chad Elias [29:23]“You can draw a connection between the critical or symbolic value that is attached to a particular artist's practice over time and the economic value that is assigned to their work.” — Chad Elias [31:05]“The art world, and the art market in particular, is a quite curious economy.” — Chad Elias [34:06]“[Andy Warhol] was considered, I don't know if it's right to say he was a great artist, but he certainly was a very successful, but also highly influential artist.” — Syd Finkelstein [40:19]On Banksy: “The anonymity of the artist is part of the mystique and draw.” — Chad Elias [43:45]On making money: “When someone does or has an image of doing really good things for society, but makes a lot of money doing it, there's a negative reaction to that person.” — Syd Finkelstein [48:10]“Even the idea of authenticity, of sincerity, in contemporary art is held with a large degree of suspicion.” — Chad Elias [59:27]Stay Connected: Syd FinkelsteinWebsite: http://thesydcast.comLinkedIn: Sydney FinkelsteinTwitter: @sydfinkelsteinFacebook: The SydcastInstagram: The SydcastChad EliasEmail: Chad.Elias@Dartmouth.eduSubscribe to our podcast + download each episode on Stitcher, iTunes, and Spotify. This episode was produced and managed by Podcast Laundry (www.podcastlaundry.com)

SONIC ACTS ACADEMY 2020 Nabil Ahmed – Ecocide Forensics 22 February 2020 – De Brakke Grond, Amsterdam, The Netherlands As founder of the project INTERPRT, artist, writer, researcher and musician Nabil Ahmed makes a clarion call for international criminal law to protect against ecological impunity. The environmental justice project that has worked with Princeton and renowned art institutions leans on spatial design to consider ecological visual culture, investigating at-risk regions like bio-diverse and conflict-ridden West Papua/​Indonesia, endowed with the planet’s largest reserve of copper and gold. International criminal justice offers considerably limited protection to the environment and to the livelihoods and dignity of peoples. In West Papua, where the Papuans are fighting the longest self-determination struggle in the Pacific, the Indonesian state and minerals, natural gas and palm oil corporations are getting away with ecocide and crimes against humanity. Yet today, civil society groups, NGOs and journalists have expanded access to geospatial information, audiovisual media and open-source data to expose state violence and corporate crimes. Forensic truths acquired by non-state actors are increasingly admitted in legal contexts and for advocacy purposes. This lecture explores how spatial analysis and environmental forensics are put to work by INTERPRT to not only document underreported environmental offenses and human rights violations, but also in an effort to recognise ecocide as an international crime. First invoked during the Vietnam War, ecocide has the potential to be an effective tool for climate frontline governments and civil society in the fight against ecological impunity at the international criminal court and beyond. Nabil Ahmed holds a PhD from the Centre for Research Architecture, Goldsmiths, University of London, where he is affiliated with Forensic Architecture. He is a postdoctoral fellow at the Academy of Fine Art in the architecture and design faculty at Norwegian University of Science and Technology. He is also founder of INTERPRT, which investigates environmental crimes using spatial analysis and advocates for the criminalisation of ecocide under international law. The group collaborates with international lawyers, research centres and civil society such as Princeton Science & Global Security and Movement for the Survival of Ogoni People, and has exhibited projects at venues including Biennale Warszawa/​Modern Art Museum in Warsaw and the Beirut Art Centre. INTERPRT is commissioned by TBA21 – Academy. Ahmed has written for Third Text, Candide: Journal for Architectural Knowledge and Architectural Review among others and is published in numerous books.

Hallie Ayres speaks to Emily Apter and Aliza Shvarts. The conversation was scheduled following the opening of Aliza Shvarts: Purported at Art In General on February 20, 2020. Aliza Shvarts is an artist and theorist who takes a queer and feminist approach to reproductive labor and language. Her current work focuses on testimony and the circulation of speech in the digital age. She received her BA from Yale University and PhD in Performance Studies from NYU. Shvarts was a 2014 recipient of the Creative Capital | Warhol Foundation Arts Writers Grant, a 2014–15 Helena Rubinstein Fellow at the Whitney Independent Study Program, a 2017 Critical Writing Fellow at Recess Art, and a Joan Tisch Teaching Fellow at the Whitney Museum of American Art (2015–19). Current and upcoming solo exhibitions include Purported at Art in General, which surveys the last decade of her practice; and Potfuch, a new commission on view later this year at A.I.R. Emily Apter is Silver Professor of French and Comparative Literature and Chair of Comparative Literature at New York University. Her books include: Unexceptional Politics: On Obstruction, Impasse and the Impolitic (Verso, 2018), Against World Literature: On the Politics of Untranslatability (2013), Dictionary of Untranslatables: A Philosophical Lexicon (co-edited with Barbara Cassin, Jacques Lezra and Michael Wood) (2014); and The Translation Zone: A New Comparative Literature (2006). She is currently working on a project (What is Just Translation?) which takes up questions of translation and law, sexual safety, and transmediality. Her essays have appeared in October, Third Text, Paragraph, boundary 2, Artforum, Critical Inquiry, Comparative Literature and Art Journal. 

This is a segment of episode #214 of Last Born In The Wilderness “The Unforeseen: Neoliberal Ideology & Paving The Road Towards Fascism w/ Henry Giroux.” Listen to the full episode: http://bit.ly/LBWgiroux Read Stephen Rohde’s review of Henry’s book ‘The Terror of the Unforeseen’ and purchase a copy: http://bit.ly/2LSXjzn In this segment of my discussion with Henry A. Giroux, McMaster University Chair for Scholarship in the Public Interest and the Paulo Freire Distinguished Scholar in Critical Pedagogy, and author of ‘The Terror of the Unforeseen,’ Henry explains how neoliberalism paved the way for the rise of far right ideologies and populists around the world. As demonstrated in the elections of, and policies enacted by, such leaders as Donald Trump in the United States, Jair Bolsonaro in Brazil, and Viktor Orbán in Hungary, a “neoliberal fascism” is emerging globally. As Henry elaborates in his book ‘The Terror of the Unforeseen,’ “neoliberalism creates an all-encompassing market guided by the principles of privatization, deregulation, commodification, and the free flow of capital. Advancing these agendas, it weakens unions, radically downsizes the welfare state, and wages an assault on public services such as education, libraries, parks, energy, water, prisons, and public transportation. As the state is hollowed out, big corporations take on the functions of government, imposing severe austerity measures, redistributing wealth upward to the rich and powerful, and reinforcing a notion of society as one of winners and losers.” (http://bit.ly/2LSXjzn)  To further this point more succinctly, Henry states “neoliberalism became an incubator for a growing authoritarian populism fed largely by economic inequality.” (http://bit.ly/2Om8oL8) As societies become subsumed politically, economically, and culturally by the logic of a neoliberal ideology, the outcome is widespread social fragmentation and disintegration. This in turn has manifested into a groundswell of authoritarian and fascist politics in nations that have been traditionally defined as “open and free democratic societies.” As Henry challenges us in this interview, unless we critically address neoliberal capitalism and the impact this ideology has played in lives of countless human beings across the world, we cannot even begin to adequately understand and effectively resist this trend of rising of far right populist movements globally. Professor Henry Giroux is a regular contributor to a number of online journals including Truthout, Truthdig, and CounterPunch. He has published in journals including Social Text, Third Text, Cultural Studies, Harvard Educational Review, Theory, Culture, & Society, and Monthly Review. His primary research areas are cultural studies, youth studies, critical pedagogy, popular culture, media studies, social theory, and the politics of higher and public education.  He is particularly interested in what he calls the war on youth, the corporatization of higher education, the politics of neoliberalism, the assault on civic literacy and the collapse of public memory, public pedagogy, the educative nature of politics, and the rise of various youth movements across the globe. An internationally renowned writer and cultural critic, Henry has authored, or co-authored over 65 books, written several hundred scholarly articles, delivered more than 250 public lectures, been a regular contributor to print, television, and radio news media outlets, and is one of the most cited Canadian academics working in any area of Humanities research. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

[Intro: 7:14] In the episode, I speak with Henry A. Giroux, McMaster University Chair for Scholarship in the Public Interest and the Paulo Freire Distinguished Scholar in Critical Pedagogy, and author of ‘The Terror of the Unforeseen.’ How has neoliberalism paved the way for the rise of far right ideologies and populists around the world? As demonstrated in the elections of, and policies enacted by, such leaders as Donald Trump in the United States, Jair Bolsonaro in Brazil, and Viktor Orbán in Hungary, a “neoliberal fascism” is emerging globally. As Henry elaborates in his book ‘The Terror of the Unforeseen,’ “neoliberalism creates an all-encompassing market guided by the principles of privatization, deregulation, commodification, and the free flow of capital. Advancing these agendas, it weakens unions, radically downsizes the welfare state, and wages an assault on public services such as education, libraries, parks, energy, water, prisons, and public transportation. As the state is hollowed out, big corporations take on the functions of government, imposing severe austerity measures, redistributing wealth upward to the rich and powerful, and reinforcing a notion of society as one of winners and losers.” (http://bit.ly/2LSXjzn)  To further this point more succinctly, Henry states “neoliberalism became an incubator for a growing authoritarian populism fed largely by economic inequality.” (http://bit.ly/2Om8oL8) As societies become subsumed politically, economically, and culturally by the logic of a neoliberal ideology, the outcome is widespread social fragmentation and disintegration. This in turn has manifested into a groundswell of authoritarian and fascist politics in nations that have been traditionally defined as “open and free democratic societies.” As Henry challenges us in this interview, unless we critically address neoliberal capitalism and the impact this ideology has played in lives of countless human beings across the world, we cannot even begin to adequately understand and effectively resist this trend of rising of far right populist movements globally. Professor Henry Giroux is a regular contributor to a number of online journals including Truthout, Truthdig, and CounterPunch. He has published in journals including Social Text, Third Text, Cultural Studies, Harvard Educational Review, Theory, Culture, & Society, and Monthly Review. His primary research areas are cultural studies, youth studies, critical pedagogy, popular culture, media studies, social theory, and the politics of higher and public education.  He is particularly interested in what he calls the war on youth, the corporatization of higher education, the politics of neoliberalism, the assault on civic literacy and the collapse of public memory, public pedagogy, the educative nature of politics, and the rise of various youth movements across the globe. An internationally renowned writer and cultural critic, Henry has authored, or co-authored over 65 books, written several hundred scholarly articles, delivered more than 250 public lectures, been a regular contributor to print, television, and radio news media outlets, and is one of the most cited Canadian academics working in any area of Humanities research. Episode Notes: - Learn more about Henry and his work: https://www.henryagiroux.com - Read Stephen Rohde’s review of ‘The Terror of the Unforeseen’ and purchase a copy: http://bit.ly/2LSXjzn - Read Henry’s op-ed ‘Neoliberalism Paved the Way for Authoritarian Right-Wing Populism’ at Truthout: http://bit.ly/2Om8oL8 - The songs featured in this episode are “Professor At Large” and “Rip Kalibma God” by Marco Polo from the album Baker’s Dozen: Marco Polo. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Third Text has just published RiVAL co-director Max Haiven's short essay "Our Opium Wars: The Ghosts of Empire in the Prescription Opioid Nightmare." Here it is in audio format. The prescription opioid crisis in the United States is among the worst human-caused public health disasters in modern history, with over 500,000 dead and by some estimates almost 5% of the American population ‘misusing’ these drugs. This article supplies some unusual resources for understanding that crisis and the way it inherits a legacy of empire, now transfigured for a corporate age. From the museums funded by the sale of these drugs to the British-led Opium Wars to the present-day racialised dimensions of the epidemic, much can be gained from dwelling with its tangled and haunted complexities. The article concludes with a consideration of Susan Buck-Morss’s reading of Walter Benjamin’s meditations on the aestheticisation of politics in an age of what she calls capitalist anaesthetics.

Here is the audio from our evening of conversation with art historian and cultural critic Mikkel Bolt Rasmussen to mark the release of his new collection of essays, "After the Great Refusal". "After the Great Refusal" offers a Western-Marxist reading of contemporary art focusing on the continued presence (or absence) of the avant-garde’s transgressive impulse. Taking art’s ability to contribute to a potential radical social transformation as its point of departure, Mikkel Bolt Rasmussen analyses the relationship between the current neoliberal hegemony and contemporary art, including relational aesthetics and interventionist art, new institutionalism and post-modern architecture. Mikkel Bolt Rassmusen is an art historian and cultural critic. He is Associate Professor at the Department of Arts and Cultural Studies, University of Copenhagen, and is co-editor of the journals K&K and Mr. Antipyrine. He is the author of many books in Danish and two previous books in English: Playmates and Playboys at a Higher Level: J.V. Martin and the Situationist International (Sternberg Press S.À.R.L., 2014) and Crisis to Insurrection (Minor Compositions, 2015). He has two forthcoming books in English from Zero Books: "After the Great Refusal" and "Trump's Counter-Revolution". He has published articles about anti-capitalist activism, the revolutionary tradition, and the Situationist International, in journals such as e-flux journal, Multitudes, Rethinking Marxism, Texte zur Kunst, and Third Text. He has co-edited Totalitarian Art and Modernity (Aarhus University Press, 2010, co-edited with Jacob Wamberg), Expect Everything Fear Nothing: The Situationist Movement in Scandinavia and Elsewhere (Autonomedia, 2011, co-edited with Jakob Jakobsen), and Cosmonauts of the Future: Texts from the Situationist Movement in Scandinavia and Elsewhere (Autonomedia, 2015, co-edited with Jakob Jakobsen). Other recent activities include the exhibition “This World We Must Leave” (made in collaboration with Jakob Jakobsen) at Kunsthall Oslo, Dec. 2016-Jan-2017).

Emily Eliza Scott is an interdisciplinary scholar, artist, and former park ranger who is currently a postdoctoral fellow in the architecture department at the Swiss Federal Institute of Technology (ETH Zürich). Her work focuses on contemporary art and design practices that engage pressing ecological and/or geopolitical issues, often with the intent to actively transform real-world conditions. She has published in The Avery Review, Art Journal, American Art, Third Text, and Cultural Geographies as well as multiple edited volumes and online journals; and her first book, Critical Landscapes: Art, Space, Politics, coedited with Kirsten Swenson, was published by UC Press last year. She is a founding member of two long-term, collaborative projects: World of Matter (2011-), an international art and research platform on global resource ecologies, and the Los Angeles Urban Rangers (2004-), a group that develops guided hikes, campfire talks, field kits, and other interpretive tools to spark creative explorations of everyday habitats in their home megalopolis and beyond.

This week: SoPra fest continues, the usual cast of characters talks to Stephen Wright about what is and isn't art. Stephen Wright is an art writer, independent researcher and curator and professor of art history and theory at the École européenne supérieure de l'image (Angouleme / Poitiers). Former research fellow in the "Art and Globalisation" programme at the Institut national d'histoire de l'art (Paris) and programme director at the Collège international de Philosophie (Paris), he is a founding user of the Usual College of the Academy of Decreative Arts. He has organised conferences at Tate Modern (London), Columbia University (New York), Palais de Tokyo (Paris), INHA (Paris), Musée d'art contemporain (Montreal), Aksanat (Istanbul), Videobrasil (Sao Paulo)... Member of the International Art Critics Association, former European Editor of the Montreal-based contemporary art journal Parachute (1997-2005), and editorial board member of the London-based journal Third Text, he has written widely on emergent art and art-related practice as forms of knowledge production in a context of globalisation. As a curator, he has produced a series of exhibitions and publications dealing with art practices with low coefficients of artistic visibility, including The Future of the Reciprocal Readymade (New York, 2004), Dataesthetics (Zagreb, 2007), Rumour as Media (Istanbul, 2006), Palestinian Products (Cairo, 2005), Recomposing Desire (Beirut, 2008) and Diggers All! (Montreal, forthcoming 2010). Laureat t of the European Art Essay competition (2008), he is currently working on the book-length essay Arbitrating Attention, and is putting together a collection of essays, Specific Visibility. A selection of his writings are available on the blog n.e.w.s. to which he is an active contributor, http://northeastwestsouth.net/node/56

Ziauddin Sardar, writer, broadcaster and cultural critic, is Visiting Professor, the School of Arts, The City University, London. He has been described as a ‘critical polymath’ and works across a number of disciplines ranging from Islamic studies and futures studies to science policy, literary criticism, information science to cultural relations, art criticism and critical theory. He was born in Pakistan in 1951 and grew up in Hackney, East London. Ziauddin Sardar has worked as science journalist for Nature and New Scientist and as a television reporter for London Weekend Television. He was a columnist on the New Statesman for a number of years and has served as a Commissioner for the Equality and Human Rights Commission and as a member of the Interim National Security Forum. Ziauddin Sardar has published over 45 books. The Future of Muslim Civilisation (1979) and Islamic Futures: The Shape of Ideas to Come (1985) are regarded as classic studies on the future of Islam. He pioneered the discussion on science in Muslim societies, with a series of articles in Nature and New Scientist and a number of books, including Science, Technology and Development in the Muslim World (1977), ­The Touch of Midas: Science, Values and the Environment in Islam and the West­­ (1982), which is seen as a seminal work, ­­The Revenge of Athena: Science, Exploitation and the Third World­ (1988) andExplorations in Islamic Science­ (1989). Postmodernism and the Other (1998) has acquired a cultish following and Why Do People Hate America? (2002) became an international bestseller. Ziauddin Sardar’s two volumes of biography and travel, Desperately Seeking Paradise: Journeys of a Sceptical Muslim (2004) and Balti Britain: A Provocative Journey Through Asian Britain (2008) have received wide acclaim. He has also authored a number of study guides in the Introducing series, including the international bestsellers Introducing Islam and Introducing Chaos. Two collections of his writings are available as Islam, Postmodernism and Other Futures: A Ziauddin Sardar Reader (2003) and How Do You Know?: Reading Ziauddin Sardar on Islam, Science and Cultural Relations (2006). Ziauddin Sardar has written and presented numerous television programmes – most recently ‘Battle for Islam’, a 90-minute documentary for BBC2 and ‘Dispatches’ on Pakistan for Channel 4. His earlier programmes include ‘Encounters with Islam’ (1985), a series of four shows for BBC and ‘Islamic Conversations’ (1994), a series of six programmes for Channel 4. He was a regular Friday Panel Member on ‘World News Tonight’ on Sky News (2005-2007). Ziauddin Sardar is Chair of the Muslim Institute, a learned, fellowship society that promotes knowledge and thought from a critical Muslim perspective. He is the also the Chair of the Black Umbrella Trust, the publishers of Third Text, a journal that provides ‘critical perspectives on contemporary art and culture’, which he co-edited from 1996 to 2006. Ziauddin Sardar is the editor of Futures, the monthly journal of policy, planning and futures studies, and a regular contributor to the New Statesman, the Guardianand book pages of the Independent. He is widely known for his radio and television appearances. With support from the Hardt-Nickachos Peace Studies Endowment, the religious studies faculty of the School of Historical, Philosophical and Religious Studies, and the Institute of Humanities Research research cluster on “Imaginaires of Islamic Modernity.”

Tate Britain symposia bring together experts and scholars to present new research or to discuss aspects of a particular exhibition or wider issues around visual culture. Symposia, sometimes with partner institutions, are a focus for new scholarship and de