Podcasts about ursonate

Hermann Ebbinghaus is remembered mostly for discovering the forgetting curve. Open any psychology textbook, any blog devoted to a flashcard app or any study-tips listicle, and you’ll find his name alongside a distinctive graph. Memory expert Tony Buzan called it the most important graph in the world. That’s because its iconic line shows memory plummeting within hours of learning something new, then flattening out over days. Countless discussions of how to reduce forgetting give you the same tidy recommendations. Usually they tell you to review your study materials at intervals, just at the point you’re starting to forget. That way, many authors promise, you’ll beat the curve. The problem, just one of many you’ll discover today, is this: Ebbinghaus didn’t discover the forgetting curve. He discovered his forgetting curve. He was one man, testing his own memory, on one kind of material, using one method. And although the forgetting curve is indeed one of the most repeatable and reproducible principles in the history of scientific studies, reproducibility in laboratory settings does not mean you’ll stop forgetting by using the conventional recommendations. Besides, here’s something almost no one else will tell you: The deepest principles the Ebbinghaus experiments revealed were already written down more than two thousand years earlier by Aristotle. You’ll find them in a short treatise that describes something remarkably close to using a Memory Palace in combination with the same kind of serial positioning Ebbinghaus described as a means for reducing forgetting. So today I’m going to cover a few aspects of the forgetting curve all serious users of memory techniques need to know. These are points I’ve been putting off writing about for a long time. However, a few emails and comments I’ve received over the past few years have convinced me that now is finally the time. Especially since I’ve spent decades memorizing poetry, scripture, mantras, complex terms, the names of people from various backgrounds and vocabulary and phrases in multiple languages. And I’ve done this all while teaching thousands of students to do the same. From where I sit as a practitioner, the forgetting curve is real, useful and badly misunderstood. But treated correctly, it’s an invitation to success. First, however, for the uninitiated, let’s make sure we’re on the same page about the definition of this term. That way, you’ll be able to discover your own curve and work on reducing its impact in your learning life. https://www.youtube.com/watch?v=V_qwUkfO65M   What Is the Forgetting Curve? In 1885, Ebbinghaus published Über das Gedächtnis (Memory: A Contribution to Experimental Psychology). In this monumental work, he reported years of experiments he had run on a single subject: himself. He memorized lists of sinnlose Silben, the German term for nonsense syllables. These were consonant-vowel-consonant combinations like ZOF and KEB. After committing lists of such invented words, he then tested how much effort it took to relearn them after various delays. Notice two things. First, these were invented words. Nothing with any meaning. Second, pay attention to the word relearn. Ebbinghaus did not measure memory only by asking whether he could reproduce an entire list perfectly. He also measured what he called “savings” in the context of relearning. This study goes quite deep into the nuances and implications of this particular concept for memory. To get the concept in brief, suppose it initially took you 20 repetitions to learn something. If it took only 10 repetitions to relearn it later, some trace of the original learning clearly remained. Your inability to reproduce the information perfectly would not mean the memory had disappeared completely. Keep this idea of “savings” in mind. It matters more than the famous graph, and we’ll return to it when I show you what happened to a long Sanskrit mantra I intentionally abandoned for years. It also connects to some concepts in memory introduced by Richard Semon and studied more recently by Dr. Paul Garrett in relation to the role of fuzzy memory. Back to Ebbinghaus, the  result of his experiments is what we now call the forgetting curve. It shows how retention drops steeply at first, then the decline slows. He also documented what we now call the spacing effect. It describes how reviews distributed over time preserve more in long-term memory than the same number of reviews crammed together. All of what Ebbinghaus found replicates, so his science is not in question here. What’s in question is what you and I should actually do with his findings.  And that’s where things really start to get interesting. Ebbinghaus Was an Early n=1 Memorizer Notice what Ebbinghaus actually was: A practitioner running experiments on his own memory. In today’s language, he was doing n=1 self-experimentation. He had skin in the game, memorized real material with his own mind, and measured what happened. I took his actions as both a lesson and an inspiration. It’s just that rather than memorize nonsense (apart from a bit of Kurt Schwitters’ “Ursonate”), I’ve focused on applying memory techniques to Chinese, scripture, poetry and facts related to law school. But you will never see the results you can achieve by reading about Ebbinghaus. You’ll only see it by memorizing information yourself and paying attention to what happens next. Tony Buzan was great about splitting the difference during his ThinkBuzan seminars. He taught memory techniques, but also had participants draw their own graph of the forgetting curve. Here’s mine: In sum, reading about the forgetting curve while never memorizing anything is like reading about swimming while refusing to get wet. Is There Such a Thing As Too Much Scientific Literacy? Years ago, Harry Lorayne coached me on becoming a successful memory coach. I followed just about everything he said, except one thing. He said, “whatever you do, don’t tell ’em about the science.” The reason I ignored the advice is that: I’m very interested in memory science Studying it has helped me discover many powerful memory activities and brain exercises The only problem I’ve seen is that about a year ago, students of all ages started writing to me in the language of science at an increasing rate. And for many, the various terms and memory statistics available online have created anxiety and perfectionism I don’t think needs to exist. For example, a medical student taking the Magnetic Memory Method Masterclass recently emailed multiple times with worries about whether his review schedule was set to properly combat the “decay function.” Now, obviously, the research on memory genuinely matters. I cite it often and terms like this can be useful for forming a solid practice with using mnemonics. But Lorayne’s warning has started to take on a strange and unexpected sense because something strange happens when the vocabulary of science replaces practice. After all, science is mostly there to describe, not proscribe. We can certainly use scientific findings to improve our practice, but it’s not helpful to let techniques that have been used happily for thousands of years become the source of anxiety thanks to scientific papers. Don’t Let These Terms Interfere With Your Memory Training It’s not only beginners with memory techniques or medical students who would tend towards scientific verbiage when contacting me. I regularly hear from people fluent in the terminology, sometimes with publications to their name. A published researcher wrote me recently and had thoroughly reasoned himself into genuine paradox. Amongst other things, he wanted to know what a trained mnemonist’s memory does “without any technique.” Now, you certainly can get a swimmer to demonstrate what a particular stroke looks like without the water. And in the context of memory training, the question can sound rigorous. But in my view, this kind of question suggests that the researcher has lost contact with the very thing he’s asking about. This is because someone with a trained memory can’t isolate a ‘raw baseline’ without risking cognitive paradox. I would have to reflect on my use of mnemonic methods while not using them. And since he immediately followed-up with a pseudo-scientific claim about photographic memory, I knew he was not taking Ebbinghaus’ n=1 practice as an example by actually using the techniques himself. After all, photographic memory has been thoroughly debunked and I’ve demonstrated many times over that it not only does not exist. The term itself makes zero sense. So this is where some nuance about the forgetting curve is very important to the serious user of memory techniques. No matter who you are, you need to make contact with actual remembering. Aristotle Described the Core Principle Two Thousand Years Ago Actually studying and practicing a wide variety of memory techniques will get you insight far more interesting and impactful than any psychology textbook could hope to provide. In De Memoria et Reminiscentia, Aristotle describes recollection as movement through an ordered series. At one point in the book, he uses a sequence like the letters of the alphabet and gives strikingly practical advice that deeply inspired what I call Recall Rehearsal. This is a form of spaced repetition applied specifically to the Memory Palace technique. As Aristotle puts it, if you forget something, don’t start over from the beginning. Start from the middle of the series and move outward from there. Richard Sorabji, in his landmark study Aristotle on Memory, admits that he doesn’t understand what Aristotle is talking about in this passage. That’s a courageous confession, as many scholars would just make something up or speculate. As a practitioner of memory techniques with decades of experience, I can tell you what I believe Aristotle is describing. It’s either: An alphabetically labeled Memory Palace An early description of serial positioning and spaced repetition Or a description that provided the inspiration for creating this kind of Memory Palace practice. It’s genuinely difficult to say which. But either way, the principle and how it reduces unwanted forgetting is unmistakable to anyone who has actually run the technique. In case you have never used a Memory Palace, it involves ordered locations, deliberate starting points, and strategic entry into the middle of a sequence as part of several spaced repetition patterns that establish substantial retention. Modern Practitioners Who Know How to Beat the Forgetting Curve  You can trace this practitioner lineage forward through Peter of Ravenna, Jacobus Publicius, Robert Fludd, Giordano Bruno, and in our own time, mnemonists like myself and Lynne Kelly (especially in her book, Memory Craft). Our combination of fieldwork and daily personal practice in particular sets the standard for studying these techniques. Certainly Frances Yates deserves credit for reviving scholarly interest in mnemonics through her book, The Art of Memory, but she acknowledged never practicing the techniques herself. Frankly, it shows. Her treatment of memory wheels, for example, creates the impression they were used as Memory Palaces, which is possible but unlikely. Practice changes what you can see in the Memory Palace books you read. Why does the Aristotle passage matter for the forgetting curve? Because his advice that you should “start from the middle” of a sequence of information you keep forgetting is serial positioning in action. And serial positioning is the key to defeating the curve. My Own Forgetting Curve, Observed in the Wild The reason I’ve never tried to reproduce Ebbinghaus’s experiment formally by memorizing nonsense is precisely because you see advice on how to beat the forgetting curve thousands of years before he conducted his research. That said, I have watched my own forgetting curve operate over years, and the observations I’ve made are instructive. For example, I worked daily with one long-form mantra built from a few dozen Sanskrit phrases for many years: the Song Celestial. Then I deliberately let it lapse with no rehearsal at all for approximately two years. I was not as deliberate as I could have been in terms of tracking like Ebbinghaus would have. But since the research is so heavily reproducible and we know why Memory Palaces work, I was happy to be casual about it. When I finally came back to this mantra, I was shocked by how much I could still recall. The forgetting curve had certainly caused some “decay.” But it was nothing like what Ebbinghaus’s graph would predict for material of that length after that much neglect. In Ebbinghaus’s own terms, the “savings” were enormous. And the relearning cost me a fraction of the original effort, because the trace was never gone. It was waiting for me. The question is, why? After all, I can’t sing songs I used to know by heart when I was a kid? Part of the answer is that I never stopped reciting the other three Sanskrit mantras I have memorized. They have very similar meanings, and in many cases, some of the same words. The meaning element in particular suggests that I partly benefitted from stronger retention due to what scientists call context dependence. Because I never left the realm of reciting Sanskrit entirely, that must explain the higher rate of retention. Compare this to my previous career as a Film Studies professor. I hardly watch movies anymore, let alone read theoretical books about them or lecture for weeks on end during a traditional university semester. The lack of context has accelerated the force of the forgetting curve and deskilled my chops as a film scholar. Memory Palaces: Structured Spaced Retrieval Systems That Beat Forgetting Apart from context-dependent memory benefits, another reason I could recall so much of a mantra despite not reciting it for years has to do with how I memorized it: using the Memory Palace technique. Not as a party trick, but as a structured spaced retrieval system. To learn more about how it works, check out my Complete Guide to the Memory Palace technique. In brief, the key is to place information tethered to associations along the stations of a Memory Palace and then practice Recall Rehearsal following patterns no software like Anki can guide you through. Titus Andronicus and Recall Rehearsal in Action My favorite demonstration where I show you Recall Rehearsal in action involves Shakespeare, specifically a passage from Titus Andronicus I memorized for my case study of how Anthony Hopkins memorizes his scripts. https://www.youtube.com/watch?v=nhjIkGu32CA I’ve retained the passage ever since running it through Recall Rehearsal with minimal repetition. Or better said, I repeat these lines often, but now it’s performance, not just recitation. But the interesting thing isn’t really that I can recite this passage. Anyone can chain words together through brute force rote learning and recite lines like these forward. The proof of the power of Recall Rehearsal is that I can recite the lines out of order: Jumping between sections Running lines in reverse Reciting the odd-numbered lines and then the even numbered lines It’s now probably my favorite demonstration because it makes the power of serial positioning visible. Even better: I’m not alone in enjoying the benefits of improved retention. Magnetic Memory Method Students Who Have Bent the Curve I’ve watched this play out in my students for years, and two cases capture it especially well. Jeannie Koh spent years learning Koine Greek using rote learning during years of what she said were filled with tears and pain. But after learning to encode with Memory Palaces, she found memorizing “much less painful, and much more enduring over time,” now recalling whole passages in that ancient language with an ease she says feels almost suspicious. Same brain, same language, two encoding methods, two completely different forgetting curves. She’s a one-person controlled experiment. For more success stories, including physicians who used these methods to retrieve high-volume, complex information under exam pressure months after encoding it, check out my testimonials page. The pattern is always the same: the forgetting curve is not destiny. So long as you’re using memory techniques optimally, you can resist it, if not beat it. Should You Reproduce Ebbinghaus’s Experiment? One problem I see time and again is that many people want the exact steps needed to measure their progress. Especially when they hear me discuss how rigorously I use journaling as part of my memory activities. I’m sorry, but the demand for “exact steps” is mostly a desire installed by content marketing. The truth is that there isn’t one exact path. There are several and the real lesson in Ebbinghaus’ story is that you need to get involved in creating your own. You can journal manually by simply memorizing real words or nonsense words. Note the dates, and test yourself over time. What matters is that you work inside projects that matter to you. Whether that’s language learning, poetry, mantras, scripture, use a memory journal to help you test what holds and what fades as you use memory techniques. If you’re competitive, you can study how memory athletes use journaling to sharpen their game. My podcast conversation with Johannes Mallow, in which he explains how journaling improved his competitive standing, will be useful in that regard. Often Forgetting Is Actually a Crisis of Commitment If there’s one thing I’ve noticed over the years, it’s that people often take on learning projects connected to lives they do not actually want. They study for a qualification because they believe they should, or to please a family member. As a result, they struggle to memorize information for a job they already suspect will make them miserable. Then they interpret their resistance as a defective memory, when the deeper problem is in fact a conflict of purpose. I’ve had to face this in my own law-school experiment. I could not know in advance exactly what studying law would involve or how well the field would suit me. The saving grace is that trying it has given me greater insight into what’s involved. But now that I’ve seen some of the field from within, I have to ask a different question: Just because I am a mnemonist who can memorize legal Latin quickly and an upcoming presentation I have to give does not mean I must continue pursuing every possible outcome associated with the degree. The ability to remember something does not prove that it deserves years of my life. As I know from my studies in polymathy, memory mastery must include the development of careful selection parameters. In other words, one of the best “meta level” ways to beat the forgetting curve is to decide whether the material deserves a place in your memory at all. If you’d like help picking what to memorize on top of using the Memory Palace technique and Recall Rehearsal, my new training “The System” can help you pick a first project you actually care about. Once you have a learning goal you love, keep a journal as you memorize. Not to reproduce a nineteenth-century experiment, but to watch yourself break the forgetting curve, one piece of info at a time.

A Ursonate de Kurt Schwitters em versão pop eletrônica!01 – Kurt Schwitters+Jennifer Walshe – Kadenz - 2'10''02 - Kurt Schwitters+Jennifer Walshe - Einleitung und Erster Teil bis D - 4'24''03 – Kurt Schwitters+Jennifer Walshe - Vierter Teil R und S – 4'56''04 – Aditya Prakash – XenoF.O.B Produção, gravação, edição e locução: marcelo brissacMúsica “Drácula” usada no prefixo e sufixo, autoria de marcelo brissac e Livio Tragtenberg

Episode No. 691 features artists Kota Ezawa and Amy Pleasant.  The Fort Mason Center for Arts & Culture is presenting "Kota Ezawa: Here and There - Now and Then," an investigation into the creation of memory in the Bay Area and nationally, through March 9. The exhibition, organized in collaboration with the San Francisco Museum of Modern Art, features Ezawa and Julian Brave NoiseCat's Alcatraz Is an Idea (2024), and Merzbau 1, 2, 3 (2021), and Ursonate (2022), which were among 11 Ezawas recently acquired by SFMOMA. "Ezawa" was curated by Frank Smigiel. Fort Mason will publish a catalogue on the closing weekend. SFMOMA is showing Ezawa's National Anthem (2018) in "Count Me In"  through April 27. Ezawa's work has been featured in solo exhibitions at many museums, including the Baltimore Museum of Art, the Chrysler Museum of Art, Norfolk, VA; the Buffalo AKG Art Museum; the Vancouver Art Gallery, Canada; and the Saint Louis Art Museum. His work is in the collection most major US art museums, and in museums in seven other countries.  Pleasant is included in "Synchronicities: Intersecting Figuration with Abstraction" at the Bemis Center for Contemporary Arts, Omaha. The exhibition examines some of the ways in which nine artists have recently navigated the space between abstraction and figuration. "Synchronicities" was curated by Rachel Adams, and is on view through May 4. Pleasant's work is also on view at The Carnegie, Covington, KY in "Southern Democratic" through February 15, and in "Vivid: A Fresh Take" at the Hunter Museum of American Art, Chattanooga, TN through June 1.  Pleasant has been included in exhibitions at the Knoxville Museum of Art, the Montgomery (Ala.) Museum of Fine Arts, the Weatherspoon Museum of Art, University of North Carolina, Greensboro, and more.  Instagram: Amy Pleasant, Tyler Green.

What a lovely dance through the career of composer and professor Christopher Butterfield. From his creative space in Victoria, British Columbia, Christopher gives us some important reflections on his relationship performing Schwitters' Ursonate over the last 40+ years. Enjoy the ride!

Jennifer Walshe on the internet's "invisible literatures", as well as new music from the composer, enlisting generative AI to rethink Kurt Schwitters' Ursonate; Tadhg O'Sullivan consults a "black map" in his latest Cloud of Unknowing; and we listen to the cow who likes butter in Sarah Browne's latest work, Buttercup.

Su aceptación para la Historia del Arte es complicada: la arquitectura de museos y salas no está concebida para la experiencia de escucha. Comprende instalación sonora, escultura interactiva, poesía experimental, fonografía, y sobre todo, la prevalencia de la escucha y el sonido sobre el hecho artístico._____Has escuchadoDedicatorias. Infinito Infinity (19/5/2013-10/11/2014) / José Iges. María de Alvear World Edition (2016)El ojo del silencio / José Antonio Sarmiento. [Grabación de la acción e instalación sonora para 100 radio transistores]. Centro de Creación Experimental (2000)Guitar Drag / Christian Marclay. [Banda sonora del vídeo Guitar Drag, 2000. Grabado en San Antonio, Texas, el 18 de noviembre de 1999]. Neon (2006)Irregularity / Homogeneity: Emerging from the Perturbation / Minoru Sato. [Instalación sonora]. Senufo Editions (2012)Magnetic Flights (2007) / Christina Kubisch. [Instalación sonora]. Important Records (2021)Motores / Isidoro Valcárcel Medina. [Obra sonora]. Ediciones sonoras experimentales; Radio Fontana Mix (1973)Small Music. Musik für einen fast leeren Raum / Music for an almost Empty Space (Edition VIII) / Rolf Julius. [Instalación sonora]. Autoedición (1998)_____Selección bibliográficaADEN, Maike (ed.), Disonata: arte en sonido hasta 1980. Museo Nacional Centro de Arte Reina Sofía, 2020ÁLVAREZ-FERNÁNDEZ, Miguel, “Panorama del arte sonoro y la música experimental en la península ibérica”. En: Experimentaclub Limbo: proyecto iberoamericano de intercambio artístico y cooperación cultural. Editado por Jorge Haro y Javier Piñango. Experimentaclub LIMbO (2010), pp. 54-64—, “Sonido, musicología, archivo: tres genealogías (hacia un catálogo de arte sonoro)”. Boletín DM, año 16 (2012), pp. 62-69*ARIZA, Javier, Las imágenes del sonido: una lectura plurisensorial en el arte del siglo XX. Universidad de Castilla-La Mancha, 2003*ASHER, Michael, Writings 1973-1983 on Works 1969-1979. Editado por Benjamin H. D. Buchloh. Press of the Nova Scotia College of Art and Design; The Museum of Contemporary Art, 1983*BARBER, Llorenç y Monserrat Palacios, La mosca tras la oreja. De la música experimental al arte sonoro en España. Fundación Autor, 2009*COSTA, José Manuel (ed.), ARTe SONoro. La Casa Encendida, 2010*CUYÁS, José Díaz, Carmen Pardo y Esteban Pujals (eds.), Encuentros de Pamplona 1972: fin de fiesta del arte experimental. Museo Nacional Centro de Arte Reina Sofía, 2009*DE LA MOTTE-HABER, Helga, Matthias Osterwold y Georg Weckwerth (eds.), Sonambiente Berlin 2006. Kehrer Verlag, 2006DEWEY, Fred et al. Brandon Labelle: Overheard and Interrupted. Les Presses du Réel, 2016*ESPEJO, José Luis (ed.), Escucha, por favor: 13 textos sobre sonido para el arte reciente. Exit Publicaciones, 2019*ESPEJO, José Luis y Óscar Martín (eds.), Ursonate: revista de arte sonoro y culturas aurales (2011-)*ETIENNE, Yvan, Bertrand Gauguet y Matthieu Saladin (eds.), “De l'espace sonore = From Sound Space”. TACET: Sound in the Arts, n.º 3 (2014)FONTÁN DEL JUNCO, Manuel, José Iges y José Luis Maire (eds.), Escuchar con los ojos. Arte sonoro en España, 1961-2016. Fundación Juan March, 2016*GARCÍA FERNÁNDEZ, Isaac Diego, Conversaciones en Nueva York: sobre arte sonoro, música experimental e identidad latina. EdictOràlia, 2020*GRANT, Jane, John Matthias y David Prior (eds.), The Oxford Handbook of Sound Art. Oxford University Press, 2021*HEGARTY, Paul, Noise/Music: A History. Continuum, 2007*—, Rumour and Radiation: Sound in Video Art. Bloomsbury, 2015*IGES, José et al., MASE. Historia y presencia del Arte Sonoro en España. Bandaàparte Editores, 2015*—, “Dimensión sonora de la escritura”. Arte y Parte, n.º 117 (2015), pp. 8-27*—, Conferencias sobre arte sonoro. Árdora Ediciones, 2017*JIMÉNEZ CARMONA, Susana y Carmen Pardo, “Aperturas y derivas del arte sonoro”. Laocoonte: revista de estética y teoría de las artes, n.º 8 (2021), pp. 49-56JOSEPH, Branden W., Beyond the Dream Syndicate: Tony Conrad and the Arts After John Cage. Zone Books, 2008*JOY, Jérôme y Peter Sinclair, Locus Sonus: 10 ans d'expérimentations en art sonore. Le Mot et le Reste, 2015*KAHN, Douglas, Noise Water Meat. A History of Sound in the Arts. The MIT Press, 1999*KELLY, Caleb (ed.), Sound. Documents of Contemporary Art. The MIT Press, 2011*KIM-COHEN, Seth, In the Blink of an Ear: Toward a Non-Cochlear Sonic Art. Continuum, 2009*KOTZ, Liz, Words to Be Looked At. Language in 1960s Art. The MIT Press, 2007*LABELLE, Brandon, Background Noise. Perspectives on Sound Art. Bloomsbury, 2006*—, “Short Circuit: Sound Art and The Museum”. Journal BOL, n.º 6 (2007), pp. 155-175—, Acoustic Territories: Sound Culture and Everyday Life. Continuum, 2010*LABELLE, Brandon y Christof Migone (eds.), Writing Aloud: The Sonics of Language. Errant Bodies Press, 2001*LICHT, Alan, Sound Art: Beyond Music, Between Categories. Rizzoli International Publications, 2007*MADERUELO, Javier, “The Book of i's, de José Luis Castillejo”. Arte y Parte, n.º 108 (2013), pp. 98-115*MAIRE, José Luis, “Documentar el sonido: consideraciones sobre la documentación musical, la música experimental y el arte sonoro”. Boletín DM, año 16 (2012), pp. 73-84*—, “Espacio resonante e instalación sonora: Robert Morris, Michael Asher, Bill Viola, Terry Fox”. Arte y Parte, n.º 117 (2015), pp. 64-85*MOLINA ALARCÓN, Miguel, “El arte sonoro”. Itamar: revista de investigación musical: territorios para el arte, n.º 1 (2008), pp. 213-234*MUNÁRRIZ, Jaime (ed.), Encuentros sonoros: música experimental y arte sonoro. Facultad de Bellas Artes, UCM, 2021*NEUHAUS, Max, Max Neuhaus. Sound Works. Cantz Verlag, 1994*PARDO, Carmen, “Avatares de la ciudad musical”. Quodlibet: Revista de Especialización Musical, n.º 68 (2018), pp. 64-78*ROCHA ITURBIDE, Manuel, “La curaduría, el arte sonoro y la intermedia en México”. Itamar: revista de investigación musical: territorios del arte, n.º 5 (2019), pp. 162-186*SALADIN, Matthieu (ed.), “Sounds of Utopia = Sonorités de l'utopie”. TACET: Sound in the arts, n.º 4 (2015)*SARMIENTO, José Antonio, La música del vinilo. Centro de Creación Experimental de la Universidad de Castilla-La Mancha, 2010*SEIFFARTH, Carsten, Carsten Stabenow y Golo Föllmer (eds.). Sound Exchange: Experimentelle Musikkulturen in Mittelosteuropa = Experimental Music Cultures in Central and Eastern Europe. Pfau, 2012SOLOMOS, Makis, Exploring the Ecologies of Music and Sound: Environmental, Mental and Social Ecologies in Music, Sound Art and Artivisms. Routledge, 2023*TOOP, David, Inflamed Invisible: Collected Writings on Art and Sound, 1976-2018. Goldsmiths Press, 2019*VOEGELIN, Salomé, Listening to Noise and Silence. Towards a Philosophy of Sound Art. Continuum, 2010*WANG, Jing, Half Sound, Half Philosophy: Aesthetics...

In this episode, Friendly Rich speaks with Dutch avant-garde composer and legendary performance artist Jaap Blonk. The talk focuses mostly on Blonk's expertise in performing Kurt Schwitters' seminal 1932 sound poem "Ursonate". Blonk is one of the great masters in performing the Ursonate. We get into it and much more. Enjoy this saunter into the wild mind of Jaap Blonk.

Behrendt, Barbarawww.deutschlandfunk.de, Kultur heute

Laages, Michaelwww.deutschlandfunkkultur.de, Fazit

We get into epic territory very quickly with award-winning poet and scholar, Christian Bök in this delightful episode. Buckle up as we take a dive into Bök's wondrous career, but also begin our deep dive into the work of Kurt Schwitters and his Ursonate. Pure joyful nonsense, just what the doctor ordered!

01 – Kurt Schwitters - Variations of Ursonate com Tomomi Adachi – 2001 – 02 - Tomomi Adachi - Anata 5 04 - Julien Blaine - Quelques poèmes mètaphysiques - com Bass Clarinet de Étienne Brunet05 – Décio Pignatari - noosfera/terra - livio tragtenberg06 – Décio Pignatari – Drácula – Tiago AraripeProdução, gravação, edição e locução: Marcelo BrissacMúsica Drácula usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

Listeners: today's episode marks a turning point for us all here at Conspirituality HQ. Humbled by a recent quantum download, we realize that we have for too long been relying on our critical faculties. For too long we have insisted that words mean things. Our poisoned irony has calcified our throat chakras and burned your ears to the point you may never trust a spiritual influencer again. Today we release our addiction to meaning, our fetish for precision in words. We begin to trust the inner babbler of heart-language. We hearken to the oracles, the speakers in tongues, the oompa loompa doompety doos, the glossalalics who trimper the ainions with seedgly refurns. Our hope is that with their help, we can begin to scrize the colong of wolfile stenoses.But we cannot enter this new world of activated communication alone. Our guide today is correspondent Mallory DeMille, who comes to us from the land of TikTok, where Light Language has gone viral, and is making bank, bank, bankity bing bong bank.Show NotesMallory on Instagram | TwitterKundun - Nechung oracle Blonk performs Ursonate with real-time typographySofia for anxiety: Reply to @jennam1127 anxiety reliefSofia: “Removing Darkness”Sofia helping with everyone's kidneysSofia's light language was “opened up” by ayahuascaSofia has her activations turned into tie dye wraps so awesome“Become a Light Language Practitioner” with SofiaSofia provides light language for lonelinessSheryl presents: Light Language LoveSheryl needs you to sit TF downSheryl's waiverLily on how to unlock your light language potentialLily's feeDaniel's gonna get you HIGH-- -- --Support us on PatreonStay in touch with us on Twitter: @derekberes @julianmwalker @matthewremskiOriginal music by EarthRise SoundSystem

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSSSatie's Vexations… was Meredith Monk there at the 1963 complete performance? Did she stay there long enough to get the show for free?You never really need an excuse for introducing the Ursonate of Kurt Schwitters into the conversation, but could Monk's vocalising style have anything to do with this?DJ Shadow's 1996 track Midnight in a perfect world is one of the better known uses of a Meredith Monk sampleDeath will come for all of us, sooner or later, but if it speaks to me like this, I might have a hard time resisting…Here's a later interview...and a recent Guardian articleTom also mentions this in the Podcast.Subscribe to Gas Giants This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

What exactly is this strange genre called sound poetry? Is it underappreciated and misunderstood? Is it just glorious gobbledygook? “Fümms bö wö tää zää Uu, pögiff, kwii Ee ...” So opens Ursonate by Kurt Schwitters, the 40 minute work of meaningless noise in four movements - considered by many to be the greatest sound poem of all time. A century after it was written, it endures, almost like a classic jazz standard or folk tale that experimental vocal performers feel compelled to learn and interpret as a rite of passage. Jennifer Walshe is one of those daring performers, having recited Ursonate around the world and even “translated” it into Irish. One hundred years on, she wonders what secrets are held within every one of Schwitters' “zee”, “tee” “wee” and “bee” sounds. Jennifer's guests include: Vocalist Elaine Mitchener, who sees the political power of made-up words Linguist Marina Yaguello, who speculates on the original, primeval language of mankind Stand-up comedian Stewart Lee, who reflects on how alternative comedy might owe a debt to Schwitters and the Dada art movement Composer Tomomi Adachi, who harnesses Artificial Intelligence to imagine new languages And poet Jaap Blonk, who remembers Ursonate nearly getting him attacked. Produced by Jack Howson Mixed by Olga Reed Photography by Mike Cameron/Wysing Polyphonic A Reduced Listening production for BBC Radio 4

Neste episódio:01 – Orquesta de Poetas - La muerte es un animal - 2'30''02 – Les Poules - La porte immemse - 2'20''03 – Les poules - D'eau vive – 2'16''04 – Les Poules - Jours lumineux - 1'59''05 – Kurt Schwitters – Presto da Ursonate - 12'19'' Total: 21'24”- Produção, gravação, edição e locução: Marcelo Brissac- Música “Drácula” usada no prefixo e sufixo, autoria de Marcelo Brissac e Livio Tragtenberg

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Zaterdag 5 december presenteert scheidend directeur van museum De Lakenhal, Meta Knol, Een goedemorgen met ... Muziek: Levine, Ari & Mars, Bruno; Locked out of Heaven; Wesseltoft, Bugge Clemens non Papa, Jacobus; Ave Maria; Egidius Kwartet Bach, Johann Sebastian; Cantate BWV.82, "Ich habe genug" ; aria, "Ich habe genug"; Kammerorchester Basel; Schröder, Julia; Scholl, Andreas [countertenor] Bach, Johann Sebastian; Matthäuspassion BWV.244 ; Deel II - nr.39, aria, "Erbarme dich"; Wiener Philharmoniker; Gillesberger, Hans; Heynis, Aafje Cummings, E.E.; That Melancholy Wolf, Hugo; Gedichte von Eduard Mörike - nr.23, "Auf ein altes Bild"; Ferrier, Kathleen & Spurr, Phyllis Sjostakovitsj, Dmitri; Concert voor cello en orkest nr.1, op.107 in Es gr.t. - deel III, "Cadenza"; Philadelphia Orchestr; Ormandy, Eugene; Rostropovich, Mstislav Dylan, Bob; Who Knows Where the Time Goes; Simone, Nina Strauss, Richard; Liederen voor zangstem en orkest (4), op.27 nr.4, "Morgen"; Radio Filharmonisch Orkest; Waart, Edo de; Margiono, Charlotte [sopraan] Piazzolla, Astor; Histoire du tango - deel II, "Café 1930" (Arr.); Huijnen, Cécile [viool];Grotenhuis, Marieke [accordeon] Davis, Miles; Flamenco Sketches – Studio Sequence1 Bach, Johann Sebastian; Suite voor klavecimbel BWV.813 in c kl.t., "Franse suite nr.2" - deel I, "Allemande"; Pires, Maria Joao [piano] Bach, Johann Sebastian; Das wohltemperierte Klavier boek 1, BWV.846-869 - "Prelude en fuga nr.10 BWV.855 in e kl.t."; Gould, Glenn [piano] Schwitters, Kurt; Ursonate (1921-31) exerpt # 3 Glass, Philip; Concert voor viool en orkest nr.2, "The American Four Seasons" - "Lied nr.1"; McDuffie, Robert Glazoenov, Aleksandr; De seizoenen, op.67 - deel I, "Winter"; Philharmonia Orchestra; Svetlanov, Yevgeni Schneider, Maria; Walking by Flashlight (the Thompson Fields Version); Maria Schneider Orchestra Schönberg, Arnold; Verklärte Nacht, op.4 - deel III; Chicago Symphony Orchestra; Barenboim, Daniel Honing, Yuri & Brederode, Wolfert; Black is the Colour

Das SWR2 lesenswert Magazin präsentiert einige frühe Highlights des literarischen Herbstes:  Elena Ferrante hat ihren ersten großen Roman nach der erfolgreichen Neapolitanischen Saga auf Deutsch veröffentlicht: "Das lügenhafte Leben der Erwachsenen" erzählt von eben diesem - und von einem seltsamen Armband. Wir haben Dany Laferrieres Roman "Ich bin ein japanischer Schriftsteller" zum Buch der Woche erklärt und bejubeln Paul Maars Jugendautobiographie, in der erklärt wird, warum das Sams mit seinen Wunschpunkten dringend nötig war. Außerdem besprechen wir Ulrike Draesners Buch "Schwitters" über den Erfinder der großen dadaistischen Ursonate und des großen Liebesgedichts "An Anna Blume". Und wir gratulieren Helge Schneider zum 65. Zu Beginn der Sendung sprechen wir mit unserer Moskau-Korrespondentin über den aktuellen Fall der belarussischen Nobelpreisträgerin Svetlana Alexijewitsch.  Paul Maar - Wie alles kamS. Fischer VerlagISBN: 978-3-10-397038-8 304 Seiten22 EuroRezension von Anja HöferDany Laferrière - Ich bin ein japanischer Schriftsteller Aus dem Französischen von Beate Thill Wunderhorn Verlag ISBN: 978-3884236284 200 Seiten22 EuroRezension von Nora KarchesElena Ferrante - Das lügenhafte Leben der ErwachsenenAus dem Italienischen von Karin KriegerSuhrkamp VerlagISBN: 978-3-518-42952-5 415 Seiten24 EuroGespräch mit Anja BrockertHelge Schneider macht seine eigene GeburtstagspartyWir gratulieren Helge SchneiderUlrike Draesner - SchwittersPenguin VerlagISBN: 978-3-328-60126-5480 Seiten25 EuroRezension von Beate Tröger Literaturnobelpreisträgerin Svetlana Alexijewitsch und ihre Rolle in Belarus Gespräch mit dem ARD-Studio MoskauJürgen Hosemann - Das Meer am 31. AugustBerenberg VerlagISBN 978-3-946334-82-8112 Seiten18 Euro Persönliche Buchempfehlung von Alexander Wasner

"Ursonate" by Kurt Schwitters read by a computer (from Pavel Büchler, Studio Schwitters, 2010)excerpt. "Ursonate" was first performed by Kurt Schwitters in 1933. A transcript can be found at http://www.merzmail.net/ursonatepdf.pdf More information from this project by Pavel Büchler can be found at https://www.artnews.com/art-in-america/aia-reviews/pavel-buchler-60786/

Rakete bee bee, grouseketeers. Sorry it's taken me a week to post this. Show is also 30 minutes shorter than usual because of punctuality issues. Probably for the best. Mostly jazz, international sounds, and a little bit of easy listening. Enjoy yourself, if you survive the first ten minutes. Rakete bee zee. Download | Podcast Bold text indicates relatively new releases (including reissues and comps). Jaap Blonk - "Presto" (from Kurt Schwitters' Ursonate) Roy Campbell, Joe McPhee, William Parker, Warren Smith - "Music Is the Healing Force of the Universe" (from Tribute to Albert Ayler - Live at The Dynamo) Creative Construction Company - "Muhal (Part I)" (from Creative Construction Company) Richard Landry - Last Track (from Solos) Mammane Sani - "Lamru" (from La Musique Electronique du Niger) Fatimah Al-Zaelaeyah - "Ya Mun Dakhal Bahr Al-Hawa (Hey, Who Enters the Sea of Passion?)" (from Qat, Coffee & Qambus: Raw 45s from Yemen) Mas Sujud - "Dangdut Medley" (from Street Musicians of Yogyakarta) Ergo Phizmiz - "Jews Harp Mambo" (from Phuj Factory) Jackie Davis - "Manana (Is Soon Enough for Me)" (from Ultra-Lounge Vol 2: Mambo Fever) Mona Baptiste - "Calypso Blues" (from London Is The Place For Me 2: Calypso & Kwela, Highlife & Jazz From Young Black London) Percy Faith - "The Bandit (Theme from O Cangaceiro)" (from Aquarela Do Brasil) The playlist and podcast are so much easier to make when Grouse keeps his trap shut. Ike Bennett & the Crystalites - "Illya Kuryakin" (from Trojan Rocksteady Box Set)

Dois senhores assustadores! A organização do Megalofone deseja-lhe uma boa experiência auditiva. E provavelmente faremos o adeus. Obrigado por contribuírem para uma Tarde Bem Passada. Excerto da peça Ursonate, de Kurt Schwitters, interpretada pelo Ensemble JER. Direcção e arranjo musical do professor José Eduardo Rocha. O Ensemble JER é composto por vários alunos da ESAD.CR cujo nome desconheço. Peço desculpa. O Pecado Original ou A Ciência do Bem e do Mal, de Daniil Harms Interpretado por Ana Reis, César Ribeiro, Guilherme Sancho e Tiago Maduro Gravado no quarto de Zé Quintino Instruções para Chorar, de Julio Cortazar Interpretado por Ana Reis

Online 24 hours each day 1 – 31 March, avfestival.co.uk / thepixelpalace.org - Radio Boredcast is a 744-hour continuous online radio project, curated by artist Vicki Bennett (People Like Us)