60 acast.com The Napping Wizard Sessions http://davidcolosi.com/radio.html en David Colosi visual art, performing arts, literature, poetry, fiction, science, technology, music,peter gabriel,Belle ile en mer,Psychic TV,language,semiotics,Life on Mars,philosophy David Colosi Wizards Need Naps Too

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]]> false David Colosi info+5ba3e27db941b8bf7e836cd1@mg-eu.acast.com 5ba3e27db941b8bf7e836cd1 napping-wizard episodic https://assets.pippa.io/shows/5ba3e27db941b8bf7e836cd1/1542596843056-3221e99e7289022df3cf89910b67b159.jpeg http://davidcolosi.com/radio.html The Napping Wizard Sessions Conversation: Gloria Origgi Conversation: Gloria Origgi Mon, 22 Apr 2024 04:01:05 GMT 52:14 6613ecfbd8c7a90016014abb false https://davidcolosi.com 6613ecfbd8c7a90016014abb 5ba3e27db941b8bf7e836cd1 conversation-gloria-origgi On Reputation, Part 2 full 5 4 In this conversation, recorded on March 16, 2024, which is a follow-up to my previous podcast, philosopher Gloria Origgi elaborates the ideas in her book, Reputation: What it is and Why it Matters. In Part 1, I played her lecture on that subject from the Night of Philosophy 2019. Here we discuss the ideas and specific cases since that time in which reputation impacts our global lives.

Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.

She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.

In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.

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]]> In this conversation, recorded on March 16, 2024, which is a follow-up to my previous podcast, philosopher Gloria Origgi elaborates the ideas in her book, Reputation: What it is and Why it Matters. In Part 1, I played her lecture on that subject from the Night of Philosophy 2019. Here we discuss the ideas and specific cases since that time in which reputation impacts our global lives.

Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.

She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.

In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.

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]]> NoP: On Reputation NoP: On Reputation Mon, 22 Apr 2024 03:59:11 GMT 21:37 65d27db7f981dc0016a2132a false https://www.davidcolosi.com 65d27db7f981dc0016a2132a 5ba3e27db941b8bf7e836cd1 nop-on-reptuation Gloria Origgi full 5 3 In 2019, I was invited to participate in the Night of the Philosophy at the New School for Social Research to record and then make art with the various lectures I attended from 7pm-7am. I posted some of these already, but since that night, one lecture I never got to always stuck with me. It’s on Reputation by Gloria Origgi, a philosopher who works in the interdisciplinary fields of social epistemology and experimental philosophy. In these five years since that midnight event, reputation as a philosophical, social, and political subject has only grown in relevance to our lives. Here I play the lecture from 2019. In Part 2, I have a conversation with Gloria where she elaborates on the ideas she introduces and from her book, Reputation: What it is and Why it Matters. We discuss pertinent ways and specific cases of how reputation manifests in our global lives.

Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.

She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.

In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.

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]]> In 2019, I was invited to participate in the Night of the Philosophy at the New School for Social Research to record and then make art with the various lectures I attended from 7pm-7am. I posted some of these already, but since that night, one lecture I never got to always stuck with me. It’s on Reputation by Gloria Origgi, a philosopher who works in the interdisciplinary fields of social epistemology and experimental philosophy. In these five years since that midnight event, reputation as a philosophical, social, and political subject has only grown in relevance to our lives. Here I play the lecture from 2019. In Part 2, I have a conversation with Gloria where she elaborates on the ideas she introduces and from her book, Reputation: What it is and Why it Matters. We discuss pertinent ways and specific cases of how reputation manifests in our global lives.

Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.

She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.

In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.

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]]> Interview: Erwan Maheo Interview: Erwan Maheo Mon, 15 Apr 2024 04:01:40 GMT 1:09:49 660a25f500483400173e11da false https://www.davidcolosi.com 660a25f500483400173e11da 5ba3e27db941b8bf7e836cd1 interview-erwan-maheo La Sirene de Belle-ile full 5 2 In this conversation, I speak with Brussels-based artist Erwan Mahéo. The conversation took place on May 25, 2023, as we were setting up a project in and around La Sirene de Belle-ile in France.

Erwan Mahéo's art practice moves freely between the categories of sculpture, painting, video, photography, collage, ceramics, and textiles but finds its home in eclectic mixes of genre-fluid forms, ideas, and expressions. In 2023 Bruxelles: La Lettre volèe published a monograph of his work titled Histoires et Gèographies. And in the past decade his work has shifted into comprehensive projects that create spaces where things can happen, inviting artists to create work in deeply entrenched historical and geographic sites.

You can explore his work on Instagram @erwan_maheo

Erwan's work has been presented in various institutions : La Grandeur Inconnue, Domaine de Kerguéhennec (F.1993) ; Laboratorium, Antwerpen Open (1999) ; Nameless Swirls, an Unfolding in Presence, Van Abbemuseum (Nl. 2003) ; Mathématiques, Fri-Art, Fribourg (Ch. 2004) ; Track, Gent (2012) ; Novelty Ltd. Fondation d’entreprise Hermès, La Verrière, Brussels (2017) and in galleries : Unknown Places, Tim Van Laere gallery, Antwerp (2005) ; Dispersion, Galerie Catherine Bastide, Brussels (2008) ; La Grande Image, Galerie Vidal Cuglietta, Brussels (2011), among many others.

He is on the faculty at La Cambre School of Visual Art in Brussels where he heads the Department of Urban Space.

Between 2003 and 2012 he founded and directed an Artist in Residence program called Le Centre du Monde on the island of Belle-ile-en-Mer (F). The collection which grew from this project was given to the FRAC Bretagne in 2014. The book Le Centre du Monde (Description of an invisible sculpture) was published on this occasion. Between 2013 and 2019 he co-founded and co-directed the editorial project Herman Byrd (with Sébastien Reuzé). In 2023 he founded the project La Sirene de Belle-Ile.

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]]> In this conversation, I speak with Brussels-based artist Erwan Mahéo. The conversation took place on May 25, 2023, as we were setting up a project in and around La Sirene de Belle-ile in France.

Erwan Mahéo's art practice moves freely between the categories of sculpture, painting, video, photography, collage, ceramics, and textiles but finds its home in eclectic mixes of genre-fluid forms, ideas, and expressions. In 2023 Bruxelles: La Lettre volèe published a monograph of his work titled Histoires et Gèographies. And in the past decade his work has shifted into comprehensive projects that create spaces where things can happen, inviting artists to create work in deeply entrenched historical and geographic sites.

You can explore his work on Instagram @erwan_maheo

Erwan's work has been presented in various institutions : La Grandeur Inconnue, Domaine de Kerguéhennec (F.1993) ; Laboratorium, Antwerpen Open (1999) ; Nameless Swirls, an Unfolding in Presence, Van Abbemuseum (Nl. 2003) ; Mathématiques, Fri-Art, Fribourg (Ch. 2004) ; Track, Gent (2012) ; Novelty Ltd. Fondation d’entreprise Hermès, La Verrière, Brussels (2017) and in galleries : Unknown Places, Tim Van Laere gallery, Antwerp (2005) ; Dispersion, Galerie Catherine Bastide, Brussels (2008) ; La Grande Image, Galerie Vidal Cuglietta, Brussels (2011), among many others.

He is on the faculty at La Cambre School of Visual Art in Brussels where he heads the Department of Urban Space.

Between 2003 and 2012 he founded and directed an Artist in Residence program called Le Centre du Monde on the island of Belle-ile-en-Mer (F). The collection which grew from this project was given to the FRAC Bretagne in 2014. The book Le Centre du Monde (Description of an invisible sculpture) was published on this occasion. Between 2013 and 2019 he co-founded and co-directed the editorial project Herman Byrd (with Sébastien Reuzé). In 2023 he founded the project La Sirene de Belle-Ile.

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]]> Interview: Gretchen Frances Bennett Interview: Gretchen Frances Bennett Sat, 10 Feb 2024 05:01:30 GMT 1:03:32 65b5ca9d3c22bb0017ad5742 false https://www.davidcolosi.com 65b5ca9d3c22bb0017ad5742 5ba3e27db941b8bf7e836cd1 interview-gretchen-frances-bennett Working Title: Hydra full 5 1 In this Napping Wizard Session, I met up with Seattle-based artist Gretchen Frances Bennett in Bratislava Slovakia on 12 June 2023. In 2021-2022 she completed a Fulbright Core Scholar research grant to retrace a family trip she made to the city in the 1970s. Time travel, memory, family archives, we circle a literary work she has in progress that stretches the then and now of impressions she has from various trips to a Central Europe that changed so much between 1972 and 2023.

As this conversation demonstrates, Gretchen’s work explores the soup of recounted personal histories, the fluidity of memory, and the construction of new literary, visual, and audio stories that imagine themselves in the openings between historical facts and personal memories.

In NYC, Gretchen has participated in artist-in-residence programs on Governors Island with the Lower Manhattan Cultural Council, the Bronx Museum of Art and has created a public program with the Drawing Center. The Frye Art Museum and the Seattle Art Museum, among many others, have hosted exhibitions of her work over the years. Her writing has appeared in Cold Cube Press for Veronica Project Space, Seattle, WA; in Earth Saga Press, Letters from Earth, Glasgow, United Kingdom; and in La Norda Specialo, Seattle, WA. She has also been an adjunct faculty member at Seattle University, Department of Art, Art History, and Design for many years. More info can be found here: https://www.gretchenbennett.com/

 

In the podcast I promise to link to a playlist. This is Gretchen’s soundtrack and hallucinogenic audio mood board of the then-communist Czechoslovakia she visited in 1972-73. All the songs we reference can be found here. Listen along, or follow the podcast with this nostalgic soundtrack.

 

Gretchen’s Spotify Playlist: 72 / 73


If Loving You is Wrong, I Don’t Want to be Right, LUTHER INGRAM

Baby, Baby, I’m Hooked on You, MAC DAVIS

Ain’t No Sunshine When She’s Gone, BILL WITHERS

You’re so Vain, CARLY SIMON

Lean On Me, BILL WITHERS

Me and Mrs. Jones, BILLY PAUL

THE WEST WING, The Lame Duck Congress, Season 2.6, Aaron Sorkin and John Wells, ©Warner Bros.

LOONEY TUNES, Bugs Bunny and Yosemite Sam, (Cross This Line) Chuck Jones and Friz Feleng, ©Warner Bros.

FLIPPER, Ivan Tors Films in association with Metro-Goldwyn-Mayer Television

FINNEGANS WAKE read by Patrick Horgan, 1985, Book II, Episode I

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]]> In this Napping Wizard Session, I met up with Seattle-based artist Gretchen Frances Bennett in Bratislava Slovakia on 12 June 2023. In 2021-2022 she completed a Fulbright Core Scholar research grant to retrace a family trip she made to the city in the 1970s. Time travel, memory, family archives, we circle a literary work she has in progress that stretches the then and now of impressions she has from various trips to a Central Europe that changed so much between 1972 and 2023.

As this conversation demonstrates, Gretchen’s work explores the soup of recounted personal histories, the fluidity of memory, and the construction of new literary, visual, and audio stories that imagine themselves in the openings between historical facts and personal memories.

In NYC, Gretchen has participated in artist-in-residence programs on Governors Island with the Lower Manhattan Cultural Council, the Bronx Museum of Art and has created a public program with the Drawing Center. The Frye Art Museum and the Seattle Art Museum, among many others, have hosted exhibitions of her work over the years. Her writing has appeared in Cold Cube Press for Veronica Project Space, Seattle, WA; in Earth Saga Press, Letters from Earth, Glasgow, United Kingdom; and in La Norda Specialo, Seattle, WA. She has also been an adjunct faculty member at Seattle University, Department of Art, Art History, and Design for many years. More info can be found here: https://www.gretchenbennett.com/

 

In the podcast I promise to link to a playlist. This is Gretchen’s soundtrack and hallucinogenic audio mood board of the then-communist Czechoslovakia she visited in 1972-73. All the songs we reference can be found here. Listen along, or follow the podcast with this nostalgic soundtrack.

 

Gretchen’s Spotify Playlist: 72 / 73


If Loving You is Wrong, I Don’t Want to be Right, LUTHER INGRAM

Baby, Baby, I’m Hooked on You, MAC DAVIS

Ain’t No Sunshine When She’s Gone, BILL WITHERS

You’re so Vain, CARLY SIMON

Lean On Me, BILL WITHERS

Me and Mrs. Jones, BILLY PAUL

THE WEST WING, The Lame Duck Congress, Season 2.6, Aaron Sorkin and John Wells, ©Warner Bros.

LOONEY TUNES, Bugs Bunny and Yosemite Sam, (Cross This Line) Chuck Jones and Friz Feleng, ©Warner Bros.

FLIPPER, Ivan Tors Films in association with Metro-Goldwyn-Mayer Television

FINNEGANS WAKE read by Patrick Horgan, 1985, Book II, Episode I

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]]> Jaws Live Action YMCA Jaws Live Action YMCA Sat, 17 Jul 2021 14:00:00 GMT 3:42 60f2358da997ab0012c93589 false https://www.davidcolosi.com/radio.html 60f2358da997ab0012c93589 5ba3e27db941b8bf7e836cd1 jaws-live-action-ymca Premise full 4 7

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]]> Interview: Farideh Sakhaeifar Interview: Farideh Sakhaeifar Sat, 03 Apr 2021 00:00:45 GMT 1:19:37 60b29873e6c1f100152fb724 false https://www.davidcolosi.com/radio.html 60b29873e6c1f100152fb724 5ba3e27db941b8bf7e836cd1 interview-farideh-sakhaeifar You Are In The War Zone full 4 6 On April 02, 2021 I spoke with Farideh Sakhaeifar about her exhibition You are in the War Zone at Trotter and Sholer in New York’s Lower East Side and her residency at Koda Lab in Brooklyn. The presentations introduce several of her visual experiments from the last decade as a kind of survey. Her work explores various themes from the Middle East and her native Iran, and the differences and complexities of living in the United States since 2009. How does the media influence the way we see our position in the world? Having known Farideh since 2013, I take cues from the exhibition as opportunities to go off script into the past and future of her work and how she has handled the remarkable year that 2020 has been.

Audio excerpts from Halabja, 1988, with sound design by Sadra Shahab and narration by Maryam Ghoreishi

and vocal excerpt by Hussein Smko from the Hekler event The People’s Tribunal.

You are in the War Zone was organized jointly by

Trotter and Sholer: https://trotterandsholer.com/exhibition/you-are-in-the-war-zone/

and Koda Lab: https://www.kodalab.org/

with contributions and collaborations from Hekler: https://www.hekler.org/

Details about Farideh and her work can also be found here: https://faridehsakhaeifar.com/

I recommend you browse the website as we discuss the work and follow along with the images of the titles we introduce.

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]]> On April 02, 2021 I spoke with Farideh Sakhaeifar about her exhibition You are in the War Zone at Trotter and Sholer in New York’s Lower East Side and her residency at Koda Lab in Brooklyn. The presentations introduce several of her visual experiments from the last decade as a kind of survey. Her work explores various themes from the Middle East and her native Iran, and the differences and complexities of living in the United States since 2009. How does the media influence the way we see our position in the world? Having known Farideh since 2013, I take cues from the exhibition as opportunities to go off script into the past and future of her work and how she has handled the remarkable year that 2020 has been.

Audio excerpts from Halabja, 1988, with sound design by Sadra Shahab and narration by Maryam Ghoreishi

and vocal excerpt by Hussein Smko from the Hekler event The People’s Tribunal.

You are in the War Zone was organized jointly by

Trotter and Sholer: https://trotterandsholer.com/exhibition/you-are-in-the-war-zone/

and Koda Lab: https://www.kodalab.org/

with contributions and collaborations from Hekler: https://www.hekler.org/

Details about Farideh and her work can also be found here: https://faridehsakhaeifar.com/

I recommend you browse the website as we discuss the work and follow along with the images of the titles we introduce.

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]]> NoP: Leshonkii NoP: Leshonkii Mon, 21 Dec 2020 17:23:06 GMT 27:27 5fdc31e44ae77b5065f527a8 true http://www.davidcolosi.com/radio.html 5fdc31e44ae77b5065f527a8 5ba3e27db941b8bf7e836cd1 nop-leshonkii Philosophy of the Comic and Tickling full 4 5

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]]>

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]]> NoP: The Usage of Words NoP: The Usage of Words Mon, 21 Dec 2020 17:22:49 GMT 25:16 5fdc30873431ae1c5e25a430 false http://www.davidcolosi.com/radio.html 5fdc30873431ae1c5e25a430 5ba3e27db941b8bf7e836cd1 nop-usage-of-words Cia Rinne full 4 4 In this reading from The Night of Philosophy in 2019 on October 06 at 03:00 am at the New School for Social Research in New York City, Cia Rinne was listed on the program with a presentation titled softly The Usage of Words. Listening to Cia Rinne’s poems is like channel flipping through international TV stations with the desire to reduce the mass of verbal waste by limiting each channel to just a single word. But infinity is infinity no matter the limits you put on how much fun you’re having with it. Minimalism pretends to seek silence, but it accumulates too much joy along the way.

Cia Rinne is a multi-lingual Swedish-born poet and artist based in Berlin. Her publications include zaroum, notes for soloists and l’usage du mot. For 6 years she documented the lives of Roma communities in Hungary, India, Greece, Romania, France, Russia and Finland while she collaborated on a book titled, “The Roma Journeys.” Her visual, literary and acoustic works have been included in various international exhibitions. More can be found below:

http://writing.upenn.edu/pennsound/x/Rinne.php

Samples from: Steve Reich, Different Trains, Electric Counterpoint – 3. After The War; Samuel Becket from Aspen 5&6; and Cia Rinne from Notes for Soloists with sound design by Sebastian Eskildsen, 2011

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]]> In this reading from The Night of Philosophy in 2019 on October 06 at 03:00 am at the New School for Social Research in New York City, Cia Rinne was listed on the program with a presentation titled softly The Usage of Words. Listening to Cia Rinne’s poems is like channel flipping through international TV stations with the desire to reduce the mass of verbal waste by limiting each channel to just a single word. But infinity is infinity no matter the limits you put on how much fun you’re having with it. Minimalism pretends to seek silence, but it accumulates too much joy along the way.

Cia Rinne is a multi-lingual Swedish-born poet and artist based in Berlin. Her publications include zaroum, notes for soloists and l’usage du mot. For 6 years she documented the lives of Roma communities in Hungary, India, Greece, Romania, France, Russia and Finland while she collaborated on a book titled, “The Roma Journeys.” Her visual, literary and acoustic works have been included in various international exhibitions. More can be found below:

http://writing.upenn.edu/pennsound/x/Rinne.php

Samples from: Steve Reich, Different Trains, Electric Counterpoint – 3. After The War; Samuel Becket from Aspen 5&6; and Cia Rinne from Notes for Soloists with sound design by Sebastian Eskildsen, 2011

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]]> NoP: Onkalo or the Contamination of Eternity NoP: Onkalo or the Contamination of Eternity Mon, 21 Dec 2020 17:22:29 GMT 46:23 5fdc30584ae77b5065f527a5 false http://www.davidcolosi.com/radio.html 5fdc30584ae77b5065f527a5 5ba3e27db941b8bf7e836cd1 nop-onkalo-or-the-contamination-of-eternity Nicolas de Warren full 4 3 In this lecture from The Night of Philosophy in 2019 at 05:00 am on October 06 at the New School for Social Research in New York City, Associate Professor of Philosophy, Nicolas de Warren, discusses our debt of plastic and nuclear waste. While many of us dream about augmented technology and the possibility of becoming cyborgs in the future, Dr. de Warren considers a different transformation of homo sapiens. With the prevalence, distribution and breakdown of plastics and nuclear waste into micro and nanoparticles, it is likely that we will consume so much as a species that future homo sapiens will indeed become part organic and part something else. Our waste habits produce an uncontrolled Kippleization – a term de Warren borrows from Philip K. Dick – that is guaranteed to transform the bodies of humans 100,000 years in the future. That is close to twice as long as homo sapiens have roamed the earth. The pyramids in Egypt are much younger than that, and yet the lazy gift we will saddle our descendants with will be far more cursed than the tombs of the pharaohs. In another Sci-Fi nod, this time to the Strugatsky brothers, de Warren compares us to disrespectful roadside picnickers - we have not taken from the forest everything that we brought in. Our campsite remains a mess.

Nicolas de Warren is Associate Professor of Philosophy at Penn State University. He has published extensively on phenomenological subjects such as Original Forgiveness, Husserl’s Awakening to Speech, Emmanuel Levinas and the Evil of Being, Sartre’s Phenomenology of Dreaming and Towards a Phenomenological Analysis of Virtual Fictions.

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]]> In this lecture from The Night of Philosophy in 2019 at 05:00 am on October 06 at the New School for Social Research in New York City, Associate Professor of Philosophy, Nicolas de Warren, discusses our debt of plastic and nuclear waste. While many of us dream about augmented technology and the possibility of becoming cyborgs in the future, Dr. de Warren considers a different transformation of homo sapiens. With the prevalence, distribution and breakdown of plastics and nuclear waste into micro and nanoparticles, it is likely that we will consume so much as a species that future homo sapiens will indeed become part organic and part something else. Our waste habits produce an uncontrolled Kippleization – a term de Warren borrows from Philip K. Dick – that is guaranteed to transform the bodies of humans 100,000 years in the future. That is close to twice as long as homo sapiens have roamed the earth. The pyramids in Egypt are much younger than that, and yet the lazy gift we will saddle our descendants with will be far more cursed than the tombs of the pharaohs. In another Sci-Fi nod, this time to the Strugatsky brothers, de Warren compares us to disrespectful roadside picnickers - we have not taken from the forest everything that we brought in. Our campsite remains a mess.

Nicolas de Warren is Associate Professor of Philosophy at Penn State University. He has published extensively on phenomenological subjects such as Original Forgiveness, Husserl’s Awakening to Speech, Emmanuel Levinas and the Evil of Being, Sartre’s Phenomenology of Dreaming and Towards a Phenomenological Analysis of Virtual Fictions.

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]]> NoP: Racial Justice NoP: Racial Justice Mon, 21 Dec 2020 17:22:10 GMT 27:50 5fdc300c411cdb1373cb3fb4 false http://www.davidcolosi.com/radio.html 5fdc300c411cdb1373cb3fb4 5ba3e27db941b8bf7e836cd1 nop-racial-justice Charles W. Mills full 4 2 In this lecture from The Night of Philosophy in 2019 on October 06 at 01:00 am at the New School for Social Research in New York City, professor of philosophy at CUNY Graduate Center Charles W. Mills spoke on the topic of Racial Justice. Dr. Mills charges the conceptions of T-justice (over-arching theories of Justice) by the Western European male canon of analytic philosophy with not accommodating G-justice (justice for those grouped as women, people of color, working class and LGBTQIA+, to name a few). Rather than taking the abolitionist road and starting from scratch, Mills takes the critical theory approach and finds salvageable material in, for instance, John Rawls’ Theory of Justice. Just as we continually try to amend the Constitution of the United States which was written by and for rich, Anglo-Saxon, slave-holding men, Mills suggests that we can reconstruct bits from the white supremacist tradition of analytic philosophy in order to make things right for other folks. He sees one path to corrective justice through a re-imagining of Rawls’ Veil of Ignorance and conceiving Justice for, what he calls, ill-ordered societies.

Charles W. Mills works in the general area of social and political philosophy, particularly in oppositional political theory as centered on class, gender, and race. He is the author of numerous journal articles and book chapters, as well as five books. His books include The Racial Contract (1997); Blackness Visible: Essays on Philosophy and Race (1998); From Class to Race: Essays in White Marxism and Black Radicalism (2003); Contract and Domination (co-authored with Carole Pateman, 2007); Radical Theory, Caribbean Reality: Race, Class and Social Domination (2010) and the forthcoming, Black Rights/White Wrongs: The Critique of Racial Liberalism.

Dr. Mills is a professor of Philosophy at CUNY Graduate Center in NYC.

His full essay on Racial Justice can be found at the Aristotelian Society:

https://academic.oup.com/aristoteliansupp/article/92/1/69/5032731

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]]> In this lecture from The Night of Philosophy in 2019 on October 06 at 01:00 am at the New School for Social Research in New York City, professor of philosophy at CUNY Graduate Center Charles W. Mills spoke on the topic of Racial Justice. Dr. Mills charges the conceptions of T-justice (over-arching theories of Justice) by the Western European male canon of analytic philosophy with not accommodating G-justice (justice for those grouped as women, people of color, working class and LGBTQIA+, to name a few). Rather than taking the abolitionist road and starting from scratch, Mills takes the critical theory approach and finds salvageable material in, for instance, John Rawls’ Theory of Justice. Just as we continually try to amend the Constitution of the United States which was written by and for rich, Anglo-Saxon, slave-holding men, Mills suggests that we can reconstruct bits from the white supremacist tradition of analytic philosophy in order to make things right for other folks. He sees one path to corrective justice through a re-imagining of Rawls’ Veil of Ignorance and conceiving Justice for, what he calls, ill-ordered societies.

Charles W. Mills works in the general area of social and political philosophy, particularly in oppositional political theory as centered on class, gender, and race. He is the author of numerous journal articles and book chapters, as well as five books. His books include The Racial Contract (1997); Blackness Visible: Essays on Philosophy and Race (1998); From Class to Race: Essays in White Marxism and Black Radicalism (2003); Contract and Domination (co-authored with Carole Pateman, 2007); Radical Theory, Caribbean Reality: Race, Class and Social Domination (2010) and the forthcoming, Black Rights/White Wrongs: The Critique of Racial Liberalism.

Dr. Mills is a professor of Philosophy at CUNY Graduate Center in NYC.

His full essay on Racial Justice can be found at the Aristotelian Society:

https://academic.oup.com/aristoteliansupp/article/92/1/69/5032731

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]]> NoP: Field Recordings NoP: Field Recordings Mon, 21 Dec 2020 17:21:41 GMT 41:58 5fdc2fb3411cdb1373cb3fb1 false http://www.davidcolosi.com/radio.html 5fdc2fb3411cdb1373cb3fb1 5ba3e27db941b8bf7e836cd1 night-of-philosophy full 4 1 On October 05-06 from 7pm to 7am at The New School of Social Research, I was invited to participate in The Night of Philosophy. Rather than do something live, I chose to record the 12-hour evening. The night hosted 50 philosophers and 50 artists in multiple venues at the New School scheduled in half-hour shifts. I couldn’t be everywhere at once, so the Field Recordings I play are of what I was able to hear. Other attendants certainly had different experiences.

Samples of lectures in this 30-minute episode come from, in no particular order: Philosophy as Radical Innovation by Markus Gabriel; Forgetting the Holocaust by Omri Boehm; Domestic Bliss: Philosophy and Family by Meghan Robison; Army of Ravens by Drucilla Cornell presented by Benoît Challand; A Feminist Social Imagery: A New Topography of Space by Maria Pia Lara; Do We Perceive the Same Colors? by John Morrison; Human Rights: On the Foundation of Ecological Socialism by Jay Bernstein; The New Age of Reputation by Gloria Origgi; Racial Justice by Charles Mills; Nothing New by Jack Halberstam; Black Existentialism by Lewis R. Gordon; The Usage of Words by Cia Rinne; Commitment to the Bit: On Andrea Chu by McKenzie Wark; Onkalo or the Contamination of Eternity by Nicolas de Warren; Realism, Objectivity and Evaluation by Justin Clarke-Doane.

Multimedia performances included: Musicircus (John Cage’s work presented by the College of Performing Arts directed by Blair McMillen and performed by students in the New School creative community, includes vocal, keyboard and saxophone); Bowie Singalong and Dance (presented by Simon Critchley and DJ Zenon Marko); Nightclub (DJ sets accompanied by a full reading of the first volume of Vernon Subutex, a French novel by Virgina Desppentes, concept by Meriam Korichi, excerpt with Vanessa Place); Collective Task (international group of artists and poets developing networking as an art practice excerpts with Vanessa Place and others); impromptu piano solos by Lewis R. Gordon; Wilhelm Reich’s The Emotional Plague (performed with two pianos, two voices, cello and audience participation with Morgan Bassichis and Ethan Philbrick); Sunrise Raga (Ehren Hanson and Jay Gandhi).

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]]> On October 05-06 from 7pm to 7am at The New School of Social Research, I was invited to participate in The Night of Philosophy. Rather than do something live, I chose to record the 12-hour evening. The night hosted 50 philosophers and 50 artists in multiple venues at the New School scheduled in half-hour shifts. I couldn’t be everywhere at once, so the Field Recordings I play are of what I was able to hear. Other attendants certainly had different experiences.

Samples of lectures in this 30-minute episode come from, in no particular order: Philosophy as Radical Innovation by Markus Gabriel; Forgetting the Holocaust by Omri Boehm; Domestic Bliss: Philosophy and Family by Meghan Robison; Army of Ravens by Drucilla Cornell presented by Benoît Challand; A Feminist Social Imagery: A New Topography of Space by Maria Pia Lara; Do We Perceive the Same Colors? by John Morrison; Human Rights: On the Foundation of Ecological Socialism by Jay Bernstein; The New Age of Reputation by Gloria Origgi; Racial Justice by Charles Mills; Nothing New by Jack Halberstam; Black Existentialism by Lewis R. Gordon; The Usage of Words by Cia Rinne; Commitment to the Bit: On Andrea Chu by McKenzie Wark; Onkalo or the Contamination of Eternity by Nicolas de Warren; Realism, Objectivity and Evaluation by Justin Clarke-Doane.

Multimedia performances included: Musicircus (John Cage’s work presented by the College of Performing Arts directed by Blair McMillen and performed by students in the New School creative community, includes vocal, keyboard and saxophone); Bowie Singalong and Dance (presented by Simon Critchley and DJ Zenon Marko); Nightclub (DJ sets accompanied by a full reading of the first volume of Vernon Subutex, a French novel by Virgina Desppentes, concept by Meriam Korichi, excerpt with Vanessa Place); Collective Task (international group of artists and poets developing networking as an art practice excerpts with Vanessa Place and others); impromptu piano solos by Lewis R. Gordon; Wilhelm Reich’s The Emotional Plague (performed with two pianos, two voices, cello and audience participation with Morgan Bassichis and Ethan Philbrick); Sunrise Raga (Ehren Hanson and Jay Gandhi).

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]]> Pheasants Pheasants Tue, 15 Dec 2020 17:23:23 GMT 14:34 5fdc3323234cfd36c3d21110 false http://www.davidcolosi.com/radio.html 5fdc3323234cfd36c3d21110 5ba3e27db941b8bf7e836cd1 pheasants Premise full 3 6

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]]>

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]]> Interview: Nicholas Fraser Interview: Nicholas Fraser Tue, 31 Mar 2020 14:00:26 GMT 59:27 5e7e5e8b0961f1f221bf0156 false http://davidcolosi.com/radio.html 5e7e5e8b0961f1f221bf0156 5ba3e27db941b8bf7e836cd1 interview-nicholas-fraser Left Hanging full 3 3 In this session, I talk with Nicholas Fraser about his text-based artworks. We focus on Left Hanging, a project where re-purposes his unrequited dating app. intros into ephemeral objects. Love letters like hanging chads cast shadows of conversations that were never properly counted. He spent a great deal of effort crafting these letters, and though they never captured their intended recipient, he found a way to utilize this archive to reach a broader audience. Nicholas’ work for the past decade has focused on the slippages of language, the erasure of meaning, our human desperation to communicate and our dizzying agility at failing at it. But sometimes we succeed, like in this conversation where we get an in-depth look at how Nicholas’ projects evolve and adapt.

As you listen to this, I encourage you to take a look at his website: http://nicholasfraser.com/

Born in the U.K., Nicholas Fraser lives in Brooklyn. Left Hanging was featured in the Spring/Break Art Fair and the 2017 Chashama Gala, as well as in a solo exhibition at Hofstra University's Rosenberg Gallery in 2016. His public sculpture, All Consuming, was commissioned for Randall's Island in 2015, the same year that he participated in the Bronx Museum's AIM program. His video Follow was featured in the 2015 AIM Biennale. A solo exhibition of his work was on view at York College/CUNY in February of 2015. He has also exhibited work at the Drawing Center, Interstate Projects, Dorsky Gallery, Flux Factory, Bronx Art Space, Art in Odd Places, La Mama La Galeria, Jack the Pelican and Taller Boricua. He has participated in residencies at MASS MoCA, Skowhegan, Art Omi, Sculpture Space, LMCC and BRIC. International audiences have seen his work in Paris, Seoul, Toronto, Cuba, Russia and Germany. In 2014 he was awarded a NYFA Fellowship for his ongoing video project about storefronts.

Sampled clips from, in order of appearance, Joe Cocker, Buckwheat Zydeco, Deee Lite, John Lee Hooker, Nicki Minaj (reading Roald Dahl) via Kanye West, Ray Charles via Norah Jones, Dixie Chicks, Jim Croce, Kid Koala (multiple), David Lee Roth via Van Halen, Tom Waits, Scissor Sisters, Jim Croce, Kid Koala.

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]]> In this session, I talk with Nicholas Fraser about his text-based artworks. We focus on Left Hanging, a project where re-purposes his unrequited dating app. intros into ephemeral objects. Love letters like hanging chads cast shadows of conversations that were never properly counted. He spent a great deal of effort crafting these letters, and though they never captured their intended recipient, he found a way to utilize this archive to reach a broader audience. Nicholas’ work for the past decade has focused on the slippages of language, the erasure of meaning, our human desperation to communicate and our dizzying agility at failing at it. But sometimes we succeed, like in this conversation where we get an in-depth look at how Nicholas’ projects evolve and adapt.

As you listen to this, I encourage you to take a look at his website: http://nicholasfraser.com/

Born in the U.K., Nicholas Fraser lives in Brooklyn. Left Hanging was featured in the Spring/Break Art Fair and the 2017 Chashama Gala, as well as in a solo exhibition at Hofstra University's Rosenberg Gallery in 2016. His public sculpture, All Consuming, was commissioned for Randall's Island in 2015, the same year that he participated in the Bronx Museum's AIM program. His video Follow was featured in the 2015 AIM Biennale. A solo exhibition of his work was on view at York College/CUNY in February of 2015. He has also exhibited work at the Drawing Center, Interstate Projects, Dorsky Gallery, Flux Factory, Bronx Art Space, Art in Odd Places, La Mama La Galeria, Jack the Pelican and Taller Boricua. He has participated in residencies at MASS MoCA, Skowhegan, Art Omi, Sculpture Space, LMCC and BRIC. International audiences have seen his work in Paris, Seoul, Toronto, Cuba, Russia and Germany. In 2014 he was awarded a NYFA Fellowship for his ongoing video project about storefronts.

Sampled clips from, in order of appearance, Joe Cocker, Buckwheat Zydeco, Deee Lite, John Lee Hooker, Nicki Minaj (reading Roald Dahl) via Kanye West, Ray Charles via Norah Jones, Dixie Chicks, Jim Croce, Kid Koala (multiple), David Lee Roth via Van Halen, Tom Waits, Scissor Sisters, Jim Croce, Kid Koala.

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]]> Tribute: Genesis Breyer P-Orridge Tribute: Genesis Breyer P-Orridge Fri, 20 Mar 2020 01:13:01 GMT 29:27 5e730141731c8e8c5cfd54f2 false http://www.davidcolosi.com/radio.html 5e730141731c8e8c5cfd54f2 5ba3e27db941b8bf7e836cd1 tribute-genesis-breyer-p-orridge Throbbing Jazz Tabs From Thee Psychic Gristle full 3 2 An incantation, a moan, a breath. This is my digital collection of Genesis Breyer P-Orridge’s music - a mere fraction of their enormous output over 6+ decades: all 154 tracks from the following recordings play simultaneously spread out at random as one song, 14.5 hours of music packed into 28 minutes. I had been a fan of their music since 1990 and then in 2015, along with 12 others, I spent several weeks with Gen at Pioneer Works deeply getting to know their philosophy, art and music. I haven’t adjusted any of the individual volumes or strategically placed any of these tracks. I only spread them out visually in the audio software, and this is the voice that spoke. Anyone familiar with the plurality of this incredible pandrogyne will know the role chance, intuition and magic played in their practice. I recommend headphones.

The recordings represented include every track from the following (not in this order): 20 Jazz Funk Greats; Allegory and Self; Fred; Heathen Earth: The Live Sound of Throbbing Gristle; Jack The Tab: Techno Acid Beat; Live at Thee Berlin Wall, Part One; Live in Bergenz; Live in Paris; Live in Thee East Village; Live in Toronto; Tale Ov 2 Cities: London and Glasgow Live; Thee City Ov Tokyo; Thee City Ov New York; Throbbing Gristle Greatest Hits.

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]]> An incantation, a moan, a breath. This is my digital collection of Genesis Breyer P-Orridge’s music - a mere fraction of their enormous output over 6+ decades: all 154 tracks from the following recordings play simultaneously spread out at random as one song, 14.5 hours of music packed into 28 minutes. I had been a fan of their music since 1990 and then in 2015, along with 12 others, I spent several weeks with Gen at Pioneer Works deeply getting to know their philosophy, art and music. I haven’t adjusted any of the individual volumes or strategically placed any of these tracks. I only spread them out visually in the audio software, and this is the voice that spoke. Anyone familiar with the plurality of this incredible pandrogyne will know the role chance, intuition and magic played in their practice. I recommend headphones.

The recordings represented include every track from the following (not in this order): 20 Jazz Funk Greats; Allegory and Self; Fred; Heathen Earth: The Live Sound of Throbbing Gristle; Jack The Tab: Techno Acid Beat; Live at Thee Berlin Wall, Part One; Live in Bergenz; Live in Paris; Live in Thee East Village; Live in Toronto; Tale Ov 2 Cities: London and Glasgow Live; Thee City Ov Tokyo; Thee City Ov New York; Throbbing Gristle Greatest Hits.

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]]> Interview: Moo Kwon Han Interview: Moo Kwon Han Mon, 24 Feb 2020 15:00:45 GMT 50:54 5e5149385d1fb6771b849ef4 false http://www.davidcolosi.com/radio.html 5e5149385d1fb6771b849ef4 5ba3e27db941b8bf7e836cd1 interview-mookwon-han Drum full 3 1 In this episode I talk with multi-media artist Moo Kwon Han about his recent exhibition, DRUM, at the Gyeongin Art Museum in Seoul, Korea. To make this work, he was granted access to multiple power facilities, many of them nuclear, all in South Korea. In our conversation we unravel the works in the exhibition, from the initial inspirational image of a detail of yellow drums containing radioactively contaminated clothing – a mere fraction of the total drums in this facility – all the way through to a final musical score that encapsulates both the path and the contents of the exhibition. When we see artworks in museums and galleries, it’s like looking at a lightening strike. We’re amazed by the instantaneous moment and evidence of what was created, but we really don’t understand what went into its making. In our conversation, I draw out the creative path Han followed in constructing Drum. I encourage you to look at his website before listening: https://www.hanmookwon.com/drum.

Mookwon Han was born in Gyeongju, Korea, and currently lives in New York. He has had solo shows at Kumho Museum of Art, Seoul (2017, 2020 forthcoming), Doosan Gallery New York (2009), CUE Art Foundation New York (2009), and Gyeongin (Kyung-In) Art Museum, Seoul (2000, 2019). Han’s work has been included in group exhibitions at Cube Museum, Seongnam; NY Media Center (2017); The Fondazione Filiberto Menna, Salerno, Italy; Galeria U Jezuitow, Poznan, Poland; Bund18 Creative Center, Shanghai, China; Coreana Museum, Seoul, Korea; Nation Centre for Performing Art, Asia Society Mumbai Centre, Mumbai, India; Metropolitan Pavilion, NY; David Zwirner Gallery, NY; Miyako Yoshinaga Gallery/ Asia Society Museum NYC; Unit B Gallery, San Antonio: Hoam Gallery and National Museum of Contemporary Art, Seoul.

​Han received an MFA from the School of Visual Arts NYC (2006), attended the Skowhegan School (2008) and participated in residencies at Elizabeth Foundation for the Arts (2015-16), Seoul Foundation for Art and Culture (2013-14), Lower Manhattan Cultural Council Workspace Program (2011-12), LMCC’s Arts Center at Governors Island (2010), Art OMI (2009) and CUE Art Foundation(2008) and was a Smack Mellon Hot Pick. He was awarded a Korea Hydro Nuclear Power, Co. and Gyeongju Cultural Foundation Grant (2020), Puffin Foundation Grant, and New York Foundation for the Arts Artist Fellowship in Digital/Electronic Arts (2009) and joined as a review panelist (2014/2017).

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]]> In this episode I talk with multi-media artist Moo Kwon Han about his recent exhibition, DRUM, at the Gyeongin Art Museum in Seoul, Korea. To make this work, he was granted access to multiple power facilities, many of them nuclear, all in South Korea. In our conversation we unravel the works in the exhibition, from the initial inspirational image of a detail of yellow drums containing radioactively contaminated clothing – a mere fraction of the total drums in this facility – all the way through to a final musical score that encapsulates both the path and the contents of the exhibition. When we see artworks in museums and galleries, it’s like looking at a lightening strike. We’re amazed by the instantaneous moment and evidence of what was created, but we really don’t understand what went into its making. In our conversation, I draw out the creative path Han followed in constructing Drum. I encourage you to look at his website before listening: https://www.hanmookwon.com/drum.

Mookwon Han was born in Gyeongju, Korea, and currently lives in New York. He has had solo shows at Kumho Museum of Art, Seoul (2017, 2020 forthcoming), Doosan Gallery New York (2009), CUE Art Foundation New York (2009), and Gyeongin (Kyung-In) Art Museum, Seoul (2000, 2019). Han’s work has been included in group exhibitions at Cube Museum, Seongnam; NY Media Center (2017); The Fondazione Filiberto Menna, Salerno, Italy; Galeria U Jezuitow, Poznan, Poland; Bund18 Creative Center, Shanghai, China; Coreana Museum, Seoul, Korea; Nation Centre for Performing Art, Asia Society Mumbai Centre, Mumbai, India; Metropolitan Pavilion, NY; David Zwirner Gallery, NY; Miyako Yoshinaga Gallery/ Asia Society Museum NYC; Unit B Gallery, San Antonio: Hoam Gallery and National Museum of Contemporary Art, Seoul.

​Han received an MFA from the School of Visual Arts NYC (2006), attended the Skowhegan School (2008) and participated in residencies at Elizabeth Foundation for the Arts (2015-16), Seoul Foundation for Art and Culture (2013-14), Lower Manhattan Cultural Council Workspace Program (2011-12), LMCC’s Arts Center at Governors Island (2010), Art OMI (2009) and CUE Art Foundation(2008) and was a Smack Mellon Hot Pick. He was awarded a Korea Hydro Nuclear Power, Co. and Gyeongju Cultural Foundation Grant (2020), Puffin Foundation Grant, and New York Foundation for the Arts Artist Fellowship in Digital/Electronic Arts (2009) and joined as a review panelist (2014/2017).

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]]> Feature: Marie Duprat, Part 2 Feature: Marie Duprat, Part 2 Mon, 07 Oct 2019 14:01:05 GMT 26:10 5d96c625650cda5434c8a447 false http://www.davidcolosi.com/radio.html 5d96c625650cda5434c8a447 5ba3e27db941b8bf7e836cd1 marie-duprat-part-2 Variations Kervilahouen (music only) bonus 2 11 This episode is just the music of the Variations Kervilahouen by Marie Duprat. For my commentary, informed by discussions with Marie, check out Part 1 of this episode. But if you’re here, you just want to enjoy the music uninterrupted. So here are the ten Variations Kervilahouen by Marie Duprat, inspired by a trip to the island of Belle-Ile-en-mer in France in 2006, and recorded in 2007 at Gennevilliers Conservatory.

01 Vazen

02 La Pointe du Talut

03 Moulin d'Anvort

04 Grotte de L'Apothicairerie

05 Locmaria

06 Ty Nehue

07 Les Poulains

08 L'Ile du Diable

09 Goulphar

10 Epilogue

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]]> This episode is just the music of the Variations Kervilahouen by Marie Duprat. For my commentary, informed by discussions with Marie, check out Part 1 of this episode. But if you’re here, you just want to enjoy the music uninterrupted. So here are the ten Variations Kervilahouen by Marie Duprat, inspired by a trip to the island of Belle-Ile-en-mer in France in 2006, and recorded in 2007 at Gennevilliers Conservatory.

01 Vazen

02 La Pointe du Talut

03 Moulin d'Anvort

04 Grotte de L'Apothicairerie

05 Locmaria

06 Ty Nehue

07 Les Poulains

08 L'Ile du Diable

09 Goulphar

10 Epilogue

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]]> Feature: Marie Duprat Feature: Marie Duprat Mon, 07 Oct 2019 14:00:54 GMT 56:24 5d96c514ad651eed501186f9 false http://www.davidcolosi.com/radio.html 5d96c514ad651eed501186f9 5ba3e27db941b8bf7e836cd1 marie-duprat Variations Kervilahouen (with commentary) full 2 10 In this show, I’ll walk you through the piano compositions of a friend of mine, Marie Duprat. She composed Variations Kervilahouen after a two-week visit to Belle-ile-en-mer in France in 2006. I’m playing versions mainly from a recording she made at Gennevilliers Conservatory in 2007, but I also mixed in a few – under my narration and the main one from La Pointe du Talut – from a recent concert at L'Atelier du Plateau in Paris in 2019. If you want to listen to just the music, without my commentary, I’m including a Part 2, so you can go there before or after listening to this one.

Marie was born in Strasbourg, in the Northeast of France. She studied music at the Strasbourg Conservatory and later moved to Paris to get her piano degree at Gennevilliers Conservatory. She continued her studies, this time in philosophy, history and literature, at the Sorbonne. She was on track to become a professor of philosophy when she was offered a job as an assistant at France Musique to conduct radio interviews dedicated to jazz and classical music. For the next ten years, she immersed herself in the music of others. In 2004, after what she described as exciting years, though filled with anxiety from time away from her own music, she left this job. In 2005 she allowed herself a self-imposed sabbatical to turn back to the piano, singing, writing and finding her artistic center. It was in June 2006 that she went to Kervilahouen. After that time she participated in a theater project in Rome with the comedians and authors Luisa Merloni and Fiora Blasi in Cabaret Hypocondriaque in 2007-2008. In 2011 she composed the music for a film documentary of the structural anthropologist Jean-Pierre Vernant by director Emmanuel Laborie and also composed stage music for a production dedicated to the poems of Arthur Rimbaud titled Vies ou les courants de la lande. In 2013, she realized a project titled Partita based on the No. 2 for piano of Johann Sebastian Bach with dancer and choreographer Laetitia Angot. Next it was her 2008 experience with comedians that led her to again collaborate with Fiora Blasi on Never Mind the Words where the two play the roles of Charlie Chaplin and Buster Keaton, and Marie recomposed much of the music of the films from the two comedic actors’ catalogs. Her most recent project is another collaboration centered on the allegory of Plato’s Cave. You can find out more about her here: https://www.atelierduplateau.org/agenda/voir/8131 and here: https://vimeo.com/214157227

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]]> In this show, I’ll walk you through the piano compositions of a friend of mine, Marie Duprat. She composed Variations Kervilahouen after a two-week visit to Belle-ile-en-mer in France in 2006. I’m playing versions mainly from a recording she made at Gennevilliers Conservatory in 2007, but I also mixed in a few – under my narration and the main one from La Pointe du Talut – from a recent concert at L'Atelier du Plateau in Paris in 2019. If you want to listen to just the music, without my commentary, I’m including a Part 2, so you can go there before or after listening to this one.

Marie was born in Strasbourg, in the Northeast of France. She studied music at the Strasbourg Conservatory and later moved to Paris to get her piano degree at Gennevilliers Conservatory. She continued her studies, this time in philosophy, history and literature, at the Sorbonne. She was on track to become a professor of philosophy when she was offered a job as an assistant at France Musique to conduct radio interviews dedicated to jazz and classical music. For the next ten years, she immersed herself in the music of others. In 2004, after what she described as exciting years, though filled with anxiety from time away from her own music, she left this job. In 2005 she allowed herself a self-imposed sabbatical to turn back to the piano, singing, writing and finding her artistic center. It was in June 2006 that she went to Kervilahouen. After that time she participated in a theater project in Rome with the comedians and authors Luisa Merloni and Fiora Blasi in Cabaret Hypocondriaque in 2007-2008. In 2011 she composed the music for a film documentary of the structural anthropologist Jean-Pierre Vernant by director Emmanuel Laborie and also composed stage music for a production dedicated to the poems of Arthur Rimbaud titled Vies ou les courants de la lande. In 2013, she realized a project titled Partita based on the No. 2 for piano of Johann Sebastian Bach with dancer and choreographer Laetitia Angot. Next it was her 2008 experience with comedians that led her to again collaborate with Fiora Blasi on Never Mind the Words where the two play the roles of Charlie Chaplin and Buster Keaton, and Marie recomposed much of the music of the films from the two comedic actors’ catalogs. Her most recent project is another collaboration centered on the allegory of Plato’s Cave. You can find out more about her here: https://www.atelierduplateau.org/agenda/voir/8131 and here: https://vimeo.com/214157227

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]]> Interview: Jimmy Raskin Interview: Jimmy Raskin Mon, 01 Apr 2019 14:00:30 GMT 49:22 5c9aeb52fe324a2e6beba332 true http://davidcolosi.com/radio.html 5c9aeb52fe324a2e6beba332 5ba3e27db941b8bf7e836cd1 s02-eo8-interview-jimmy-raskin Slapstick Enlightenment full 2 8 In this episode, Jimmy Raskin puts the cliché under the microscope through a process he calls Slapstick Enlightenment. Always obsessed with profound moments of failure, Jimmy discusses his love of two quotes by seminal figures of his work for the past several decades, Arthur Rimbaud: “If brass wakes as a bugle, it’s not its fault,” and Frederick Nietzsche, the subtitle to Thus Spoke Zarathustra, “A Book for All and None.” Putting these up against a profound moment of failure of his own in a mispronunciation of "polyphony," and finally against a recently found inspirational quote by an unlikely source, “All that is is there, all that is is here, all that is is,” he goes deep into his love of clichés and how the artist can resuscitate them.

Find Jimmy’s work at: Miguel Abreu Gallery: http://miguelabreugallery.com/artists/raskin; http://jimmyraskin.com/; http://thelasteccentric.com/

Supplemental tracks:

Jimmy Raskin, The Last Eccentric; George Jones, Wrong is What I Do Best; Jerry Lewis, The Nutty Professor; X-Files Theme Song; The Bob Dylan Foundation, feature on Joe Andoe; Blinded By The Light, Manfred Mann and more excerpts from Jimmy Raskin’s audio works.

Record date: January 27, 2019, BRIC Arts Media

Air date: April 01, 2019

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]]> In this episode, Jimmy Raskin puts the cliché under the microscope through a process he calls Slapstick Enlightenment. Always obsessed with profound moments of failure, Jimmy discusses his love of two quotes by seminal figures of his work for the past several decades, Arthur Rimbaud: “If brass wakes as a bugle, it’s not its fault,” and Frederick Nietzsche, the subtitle to Thus Spoke Zarathustra, “A Book for All and None.” Putting these up against a profound moment of failure of his own in a mispronunciation of "polyphony," and finally against a recently found inspirational quote by an unlikely source, “All that is is there, all that is is here, all that is is,” he goes deep into his love of clichés and how the artist can resuscitate them.

Find Jimmy’s work at: Miguel Abreu Gallery: http://miguelabreugallery.com/artists/raskin; http://jimmyraskin.com/; http://thelasteccentric.com/

Supplemental tracks:

Jimmy Raskin, The Last Eccentric; George Jones, Wrong is What I Do Best; Jerry Lewis, The Nutty Professor; X-Files Theme Song; The Bob Dylan Foundation, feature on Joe Andoe; Blinded By The Light, Manfred Mann and more excerpts from Jimmy Raskin’s audio works.

Record date: January 27, 2019, BRIC Arts Media

Air date: April 01, 2019

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]]> Interview: Adrienne Whiteley Interview: Adrienne Whiteley Fri, 01 Mar 2019 15:00:06 GMT 45:16 5c3b71c1b855894938f53c38 false http://davidcolosi.com/radio.html 5c3b71c1b855894938f53c38 5ba3e27db941b8bf7e836cd1 s02-e07-interview-adrienne-whiteley bonus 2 7 From 1977-2018 Adrienne Whiteley worked at the Rosamond Gifford Zoo in Syracuse, NY. As a voice major in college, she found part-time work as a seasonal employee at the zoo. She didn't know then that she had fallen into her career path. Over the next 41 years she worked her way up to the position of Senior Zoo Keeper, Collection Manager and Registrar, overseeing most aspects of the Zoo’s operation, and, most importantly, animal care and well-being. Since 2007 she has been teaching a highly popular course at Syracuse University on zoo animal management. In June 2018 we sat down to talk about elephants that paint, why penguins are vicious little monsters, unpredictable lions, the heart problems of gorillas and Bambi. “There’s a saying in the zoo community that there are more tigers in Texas than there are in the wild. Nobody needs a tiger.” Learn more about this wisdom and of Adrienne’s perspective on the zoo experience and the state of zoos and animal welfare in the American context. This interview is a bonus edition to my first episode of Premise: A Bold Move With The Cowardly Lion. In this isolated interview I cut the bits about the lion in the elementary school and focus on Adrienne’s experience and insights. To listen to her parts in Premise, find episode S02 E01 Premise: A Bold Move With The Cowardly Lion in my past shows.

*Photo of M'Wasi and Kierha (©Rosamund Gifford Zoo), the last two lions at the Rosamund Gifford Zoo. Kierha died in Dec. 2017 and M'Wasi in August 2018, shortly after this interview. Adrienne was fortunate to work with them.

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]]> From 1977-2018 Adrienne Whiteley worked at the Rosamond Gifford Zoo in Syracuse, NY. As a voice major in college, she found part-time work as a seasonal employee at the zoo. She didn't know then that she had fallen into her career path. Over the next 41 years she worked her way up to the position of Senior Zoo Keeper, Collection Manager and Registrar, overseeing most aspects of the Zoo’s operation, and, most importantly, animal care and well-being. Since 2007 she has been teaching a highly popular course at Syracuse University on zoo animal management. In June 2018 we sat down to talk about elephants that paint, why penguins are vicious little monsters, unpredictable lions, the heart problems of gorillas and Bambi. “There’s a saying in the zoo community that there are more tigers in Texas than there are in the wild. Nobody needs a tiger.” Learn more about this wisdom and of Adrienne’s perspective on the zoo experience and the state of zoos and animal welfare in the American context. This interview is a bonus edition to my first episode of Premise: A Bold Move With The Cowardly Lion. In this isolated interview I cut the bits about the lion in the elementary school and focus on Adrienne’s experience and insights. To listen to her parts in Premise, find episode S02 E01 Premise: A Bold Move With The Cowardly Lion in my past shows.

*Photo of M'Wasi and Kierha (©Rosamund Gifford Zoo), the last two lions at the Rosamund Gifford Zoo. Kierha died in Dec. 2017 and M'Wasi in August 2018, shortly after this interview. Adrienne was fortunate to work with them.

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]]> Interview: Rachel Bacon Interview: Rachel Bacon Sun, 02 Dec 2018 00:42:41 GMT 49:18 5bff3833ccae30c546847dcf true http://www.davidcolosi.com/radio.html 5bff3833ccae30c546847dcf 5ba3e27db941b8bf7e836cd1 s02-e02 Graphite and Diamonds full 2 2 GRAPHITE AND DIAMONDS: THE ALLOTROPIC DRAWINGS OF RACHEL BACON

Have you ever crumpled paper just right, or covered a sheet from edge to edge with graphite, or, otherwise, protected a clean page from damage at all costs? Rachel Bacon has, and from the sound of it, she’ll continue doing so. She’s been experimenting with materials for decades, and she’s gotten it down to a science – the science of paper and pencil, trees and graphite, wood and carbon, pulp and powder. Just like diamonds and coal both come from carbon, and folklore spins yarns of devils shitting gold or turning gold into shit, Rachel’s drawings act out allotropic roles. They’re unique works that play with our perceptions of reality and confront us with lightness and dark, weight and scale, and encourage us to take responsibility for the materials we exploit. Her drawings operate on subliminal and individual levels and position us as guests on a planet that allows us to inhabit it for now.

She was born in NYC and moved to the Netherlands after earning a BFA at Pratt Institute in 1990. She currently lives and makes art in The Hague where she teaches drawing at the Royal Academy of Art. In 2016 she earned an MA in London at the Wimbleton College of Art. She reappears in New York City often as well as travels the world taking advantage of artist-in-residency programs. Most recently she participated in the Banff Centre for the Arts, Mass MoCA and the Lower Manhattan Cultural Council’s Art Center on Governors Island (where we met in 2010). In addition to The Netherlands and the United States, she has had exhibitions in France, the United Kingdom, The Czech Republic, Turkey, Lithuania, Finland and Sweden, among others, and she has been nominated for and received several public art commissions.

I encourage you to explore her website while we’re chatting: http://www.rachelbacon.com

Record Date: 15 April 2018

Air Date: 02 December 2018

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]]> GRAPHITE AND DIAMONDS: THE ALLOTROPIC DRAWINGS OF RACHEL BACON

Have you ever crumpled paper just right, or covered a sheet from edge to edge with graphite, or, otherwise, protected a clean page from damage at all costs? Rachel Bacon has, and from the sound of it, she’ll continue doing so. She’s been experimenting with materials for decades, and she’s gotten it down to a science – the science of paper and pencil, trees and graphite, wood and carbon, pulp and powder. Just like diamonds and coal both come from carbon, and folklore spins yarns of devils shitting gold or turning gold into shit, Rachel’s drawings act out allotropic roles. They’re unique works that play with our perceptions of reality and confront us with lightness and dark, weight and scale, and encourage us to take responsibility for the materials we exploit. Her drawings operate on subliminal and individual levels and position us as guests on a planet that allows us to inhabit it for now.

She was born in NYC and moved to the Netherlands after earning a BFA at Pratt Institute in 1990. She currently lives and makes art in The Hague where she teaches drawing at the Royal Academy of Art. In 2016 she earned an MA in London at the Wimbleton College of Art. She reappears in New York City often as well as travels the world taking advantage of artist-in-residency programs. Most recently she participated in the Banff Centre for the Arts, Mass MoCA and the Lower Manhattan Cultural Council’s Art Center on Governors Island (where we met in 2010). In addition to The Netherlands and the United States, she has had exhibitions in France, the United Kingdom, The Czech Republic, Turkey, Lithuania, Finland and Sweden, among others, and she has been nominated for and received several public art commissions.

I encourage you to explore her website while we’re chatting: http://www.rachelbacon.com

Record Date: 15 April 2018

Air Date: 02 December 2018

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]]> A Bold Move With The Cowardly Lion A Bold Move With The Cowardly Lion Tue, 28 Aug 2018 16:51:51 GMT 34:55 5bb797f45f1154f24379ba1a false http://www.davidcolosi.com/radio.html 5bb797f45f1154f24379ba1a 5ba3e27db941b8bf7e836cd1 nws-premise-s02-e01 Premise full 2 1 In the pilot episode of this new series, PREMISE, David Colosi and his guests consider a New York City public elementary school staging a theatrical production of The Wizard of Oz by casting the role of the Cowardly Lion as a real lion.


Release date: 2018 August 28

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]]> In the pilot episode of this new series, PREMISE, David Colosi and his guests consider a New York City public elementary school staging a theatrical production of The Wizard of Oz by casting the role of the Cowardly Lion as a real lion.


Release date: 2018 August 28

Hosted on Acast. See acast.com/privacy for more information.

]]> Interview: Jeremy Sigler Interview: Jeremy Sigler Thu, 21 Sep 2017 18:22:36 GMT 40:28 5ba3e576bc6bc3926daa5b03 false http://www.davidcolosi.com/radio.html 5ba3e576bc6bc3926daa5b03 5ba3e27db941b8bf7e836cd1 jeremy-sigler My Vibe full 1 14 David Colosi talks to Jeremy Sigler about … poetry.

Jeremy and David explore questions that arise from My Vibe: In the poet’s attempt to reach an audience, can one avoid succumbing to self-censorship, on the one hand, and fabricated outrageousness on the other while remaining true to oneself, flaws and all, and leave the campsite unmarred for the next campers? Are the dual desires to be read and to remain invisible at odds? Today, how does persona construction differ between a self-revealing literary book and a social media identity? What’s the impact of a poetry book footprint any more? 

In My Vibe, through the device of hyper-personal prose poems, Sigler explores the loneliness of the poet. With reference to Cheech and Chong, Marcel Duchamp, Rainer Werner Fassbinder, Peter Saul, Franz Kafka and others, in this conversation and in My Vibe Sigler takes us on a slapstick Broken Flowers-esque journey of the poet (and maybe Poetry itself) in mid-life crisis, reminiscing, revisiting and rewriting personal scenes of failed rock-n-roll, sports and sexual attempts, savoring the joys of married life and parenthood while comically entertaining the desire to remain a sole and smooth operator.

His pants stick to the wall, slices of American cheese are dyed black and scaled to wrestling mats and the swimming pool becomes the site of a confrontation with Heath Ledger. Like Freddie Mercury who is the only musician Jeremy knows who carried along with the mic half of the stand “like a Shakespearean dagger,” Sigler is the only poet Colosi knows of who utilizes an intern for dictation.

Jeremy Sigler is a poet based in Brooklyn, NY where he has lived since 1991. His new collection of writings, My Vibe, is published by Spoonbill Books. He has written numerous collections of poetry, including To And To and Mallet Eyes published by Left Hand Books; Crackpot Poet published by Black Square Editions; and ABCDEFGHIJKLMNOPQRSTUVWXYZ published by Kingsboro Press/For the Common Good.


Release date: 2017 June 21

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]]> David Colosi talks to Jeremy Sigler about … poetry.

Jeremy and David explore questions that arise from My Vibe: In the poet’s attempt to reach an audience, can one avoid succumbing to self-censorship, on the one hand, and fabricated outrageousness on the other while remaining true to oneself, flaws and all, and leave the campsite unmarred for the next campers? Are the dual desires to be read and to remain invisible at odds? Today, how does persona construction differ between a self-revealing literary book and a social media identity? What’s the impact of a poetry book footprint any more? 

In My Vibe, through the device of hyper-personal prose poems, Sigler explores the loneliness of the poet. With reference to Cheech and Chong, Marcel Duchamp, Rainer Werner Fassbinder, Peter Saul, Franz Kafka and others, in this conversation and in My Vibe Sigler takes us on a slapstick Broken Flowers-esque journey of the poet (and maybe Poetry itself) in mid-life crisis, reminiscing, revisiting and rewriting personal scenes of failed rock-n-roll, sports and sexual attempts, savoring the joys of married life and parenthood while comically entertaining the desire to remain a sole and smooth operator.

His pants stick to the wall, slices of American cheese are dyed black and scaled to wrestling mats and the swimming pool becomes the site of a confrontation with Heath Ledger. Like Freddie Mercury who is the only musician Jeremy knows who carried along with the mic half of the stand “like a Shakespearean dagger,” Sigler is the only poet Colosi knows of who utilizes an intern for dictation.

Jeremy Sigler is a poet based in Brooklyn, NY where he has lived since 1991. His new collection of writings, My Vibe, is published by Spoonbill Books. He has written numerous collections of poetry, including To And To and Mallet Eyes published by Left Hand Books; Crackpot Poet published by Black Square Editions; and ABCDEFGHIJKLMNOPQRSTUVWXYZ published by Kingsboro Press/For the Common Good.


Release date: 2017 June 21

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]]> Interview: Mark Mothersbaugh Interview: Mark Mothersbaugh Wed, 26 Apr 2017 18:25:03 GMT 52:54 5ba3e679a5330de7100313ff false http://www.davidcolosi.com/radio.html 5ba3e679a5330de7100313ff 5ba3e27db941b8bf7e836cd1 mark-mothersbaugh Myopia full 1 11 David Colosi talks with Mark Mothersbaugh about Myopia, Mutato Muzika, broken instruments and De-evolution. Mark Mothersbaugh: Myopia, collects for the first time a representative body of Mothersbaugh’s visual and audio artwork before and after his seminal work with DEVO. The exhibition is on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017.

Mark Mothersbaugh has been part of the contemporary art conversation since the 1970s. As an art student at Kent State during the charged movement of war protests and the killing of fellow students on May 4, 1970 by the National Guard, Mothersbaugh co-founded the paradigm-shifting band DEVO.

Since that seminal period he has consistently challenged and redefined boundaries in music and visual art with a keen eye on social commentary, political awareness and self-controlled marketing. Spanning the punk and MTV eras, Mothersbaugh and DEVO mastered the concept of image construction through costumes, video and electronic music technology, and merchandising with a healthy dose of humor. Mothersbaugh parlayed his avant-garde musical background into a leading role in scoring for filmed and animated entertainment, interactive media and commercials.

His credits and awards as a composer include work with Paul Reubens and Wes Anderson and productions like Pee Wee’s Playhouse, 21 Jump Street, Cloudy with a Chance of Meatballs, Rushmore, The Royal Tenenbaums, The Life Aquatic, the Rugrats franchise and Yo Gabba Gabba where he can be seen as the Art teacher.

Committing himself to art making over celebrity, Mark has consistently maintained a visual practice through drawing, collage, postcards, notebooks, photography, constructed static and interactive musical and media objects and environments. For the first time, this exhibition situates his visual art practice from DADA to Jeff Koons and with comparable rustbelt connections between Mark’s Ohio roots to Warhol’s Pittsburgh with parallel lines drawn to Robert Williams and Raymond Pettibon and others in the Los Angeles scene where Mark and Mutato Muzika are based.

Mark Mothersbaugh: Myopia was organized by the Museum of Contemporary Art Denver and travelled to Minneapolis Institute of Arts; Contemporary Art Center, Cincinnati Art Museum; The Austin Contemporary; Museum of Contemporary Art Cleveland/Akron Art Museum and will be on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017. You can see more of Mothersbaugh's artwork on his website.


Record date: 2017 April 26

Release date: 2017 May 04

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]]> David Colosi talks with Mark Mothersbaugh about Myopia, Mutato Muzika, broken instruments and De-evolution. Mark Mothersbaugh: Myopia, collects for the first time a representative body of Mothersbaugh’s visual and audio artwork before and after his seminal work with DEVO. The exhibition is on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017.

Mark Mothersbaugh has been part of the contemporary art conversation since the 1970s. As an art student at Kent State during the charged movement of war protests and the killing of fellow students on May 4, 1970 by the National Guard, Mothersbaugh co-founded the paradigm-shifting band DEVO.

Since that seminal period he has consistently challenged and redefined boundaries in music and visual art with a keen eye on social commentary, political awareness and self-controlled marketing. Spanning the punk and MTV eras, Mothersbaugh and DEVO mastered the concept of image construction through costumes, video and electronic music technology, and merchandising with a healthy dose of humor. Mothersbaugh parlayed his avant-garde musical background into a leading role in scoring for filmed and animated entertainment, interactive media and commercials.

His credits and awards as a composer include work with Paul Reubens and Wes Anderson and productions like Pee Wee’s Playhouse, 21 Jump Street, Cloudy with a Chance of Meatballs, Rushmore, The Royal Tenenbaums, The Life Aquatic, the Rugrats franchise and Yo Gabba Gabba where he can be seen as the Art teacher.

Committing himself to art making over celebrity, Mark has consistently maintained a visual practice through drawing, collage, postcards, notebooks, photography, constructed static and interactive musical and media objects and environments. For the first time, this exhibition situates his visual art practice from DADA to Jeff Koons and with comparable rustbelt connections between Mark’s Ohio roots to Warhol’s Pittsburgh with parallel lines drawn to Robert Williams and Raymond Pettibon and others in the Los Angeles scene where Mark and Mutato Muzika are based.

Mark Mothersbaugh: Myopia was organized by the Museum of Contemporary Art Denver and travelled to Minneapolis Institute of Arts; Contemporary Art Center, Cincinnati Art Museum; The Austin Contemporary; Museum of Contemporary Art Cleveland/Akron Art Museum and will be on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017. You can see more of Mothersbaugh's artwork on his website.


Record date: 2017 April 26

Release date: 2017 May 04

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]]> Interview: Hidemi Takagi Interview: Hidemi Takagi Thu, 30 Mar 2017 18:15:36 GMT 36:55 5ba3e3c9bc6bc3926daa5b01 false http://www.davidcolosi.com/radio.html 5ba3e3c9bc6bc3926daa5b01 5ba3e27db941b8bf7e836cd1 hidemi-takagi Peppermint Twist full 1 10 Host David Colosi talks to artist Hidemi Takagi about her photo and video projects. Growing up in Japan, she adored American films from the 1950s and ‘60s. The George Lucas classic American Graffiti made a significant impression. Her projects reflect this influence as she recreates that characteristic vibrancy and hyper-saturation of color as a nostalgic throwback to what was then her future dream of America. As a resident of New York City since 1997, living in various neighborhoods in Manhattan and Brooklyn, she finds the established cultures within her new homes – the Dominican population in Washington Heights, barbershop culture in Bed-Stuy, a senior home in Crown Heights – and photographs the color, joy and life of the people who came from diverse communities around the world to become Americans in this city. Visit her website here. Hidemi Takagi was born in Kyoto and currently lives in Brooklyn. She has exhibited internationally (London, Madrid, Tel Aviv, Berlin, Paris) and nationally, most recently in New York at The Bronx Museum of the Arts, the Queens Museum, BRIC Media Art Center, White Columns, Momenta Art, The Nathan Cummings Foundation and NYFA Gallery. Takagi has participated in the Artist in the Marketplace program at The Bronx Museum, the Immigrant Artist Program at NYFA, Lower Manhattan Cultural Council’s Swing Space program, Engaging Artist Residency by More Art and BRIC New Media Arts Fellowship. Her Blender project was selected for Times Square Public Arts 2011, and Hello It's Me was awarded Seed Grant funds from More Art.


Release date: 2017 March 30

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]]> Host David Colosi talks to artist Hidemi Takagi about her photo and video projects. Growing up in Japan, she adored American films from the 1950s and ‘60s. The George Lucas classic American Graffiti made a significant impression. Her projects reflect this influence as she recreates that characteristic vibrancy and hyper-saturation of color as a nostalgic throwback to what was then her future dream of America. As a resident of New York City since 1997, living in various neighborhoods in Manhattan and Brooklyn, she finds the established cultures within her new homes – the Dominican population in Washington Heights, barbershop culture in Bed-Stuy, a senior home in Crown Heights – and photographs the color, joy and life of the people who came from diverse communities around the world to become Americans in this city. Visit her website here. Hidemi Takagi was born in Kyoto and currently lives in Brooklyn. She has exhibited internationally (London, Madrid, Tel Aviv, Berlin, Paris) and nationally, most recently in New York at The Bronx Museum of the Arts, the Queens Museum, BRIC Media Art Center, White Columns, Momenta Art, The Nathan Cummings Foundation and NYFA Gallery. Takagi has participated in the Artist in the Marketplace program at The Bronx Museum, the Immigrant Artist Program at NYFA, Lower Manhattan Cultural Council’s Swing Space program, Engaging Artist Residency by More Art and BRIC New Media Arts Fellowship. Her Blender project was selected for Times Square Public Arts 2011, and Hello It's Me was awarded Seed Grant funds from More Art.


Release date: 2017 March 30

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]]> Interview: Stephanie Dinkins Interview: Stephanie Dinkins Mon, 13 Feb 2017 19:30:01 GMT 42:44 5ba3e77fb941b8bf7e836cd3 false http://www.davidcolosi.com/radio.html 5ba3e77fb941b8bf7e836cd3 5ba3e27db941b8bf7e836cd1 stephanie-dinkins Conversations with Bina48 full 1 9 Did you ever think you’d grow up to talk to a robot that looked like you? David Colosi discusses with artist Stephanie Dinkins her conversations with AI entity Bina48 (created by Martine Rothblatt’s Terasem Movement, Inc.). Is building a robot into a human-like sculptural bust a gimmick to seduce humans to engage with it, or do anthropomorphic features allow for essential discussions about dignity and care? With what respect do we need to treat objects, and how does this change when computers have a face, a race and a gender? When we want to become friends with robots, do they want to become friends with us? With the integration of Artificial and Human intelligence approaching, Dinkins explores the language we build into our machine learning systems: when programmers assign words like “master” to the relationship of AI to humans and later Bina48 implores Dinkins to protect her robot rights, on what ground do we stand? Who do we trust at the controls? When machines are programmed to learn at exponentially increasing speed, and we humans have difficulty learning from our mistakes, an inferiority complex seems imminent. Are we poised to approach it with humility or reproach it with brutality? The issue is not robot revenge, as our sci-fi plots like to exploit, but, as Colosi and Dinkins explore, rather an examination of dignity as we position ourselves in relation to other humans and, ultimately, objects. Stephanie Dinkins is an artist and professor at Stony Brook University interested in creating platforms for ongoing dialog about artificial intelligence as it intersects race, gender, aging and our future histories. She is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence. http://www.stephaniedinkins.com


Release date: 2017 February 13

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]]> Did you ever think you’d grow up to talk to a robot that looked like you? David Colosi discusses with artist Stephanie Dinkins her conversations with AI entity Bina48 (created by Martine Rothblatt’s Terasem Movement, Inc.). Is building a robot into a human-like sculptural bust a gimmick to seduce humans to engage with it, or do anthropomorphic features allow for essential discussions about dignity and care? With what respect do we need to treat objects, and how does this change when computers have a face, a race and a gender? When we want to become friends with robots, do they want to become friends with us? With the integration of Artificial and Human intelligence approaching, Dinkins explores the language we build into our machine learning systems: when programmers assign words like “master” to the relationship of AI to humans and later Bina48 implores Dinkins to protect her robot rights, on what ground do we stand? Who do we trust at the controls? When machines are programmed to learn at exponentially increasing speed, and we humans have difficulty learning from our mistakes, an inferiority complex seems imminent. Are we poised to approach it with humility or reproach it with brutality? The issue is not robot revenge, as our sci-fi plots like to exploit, but, as Colosi and Dinkins explore, rather an examination of dignity as we position ourselves in relation to other humans and, ultimately, objects. Stephanie Dinkins is an artist and professor at Stony Brook University interested in creating platforms for ongoing dialog about artificial intelligence as it intersects race, gender, aging and our future histories. She is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence. http://www.stephaniedinkins.com


Release date: 2017 February 13

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]]> Interview: Charley Friedman Interview: Charley Friedman Tue, 19 Jul 2016 18:32:13 GMT 1:05:31 5ba3e831bc6bc3926daa5b06 false http://www.davidcolosi.com/radio.html 5ba3e831bc6bc3926daa5b06 5ba3e27db941b8bf7e836cd1 charley-friedman On Humor full 1 6 David Colosi in conversation with artist Charley Friedman on Friedman's sculpture and photography, his relationship with humor, and his influences -- ranging from Lenny Bruce to Brian Eno. The glue that binds Charley Friedman’s work is humor. The crux of his work is to explore the absurd, tragic, and contradictory nature of living. Themes in his work reflect his preoccupations with how individuals, nations, and cultures form and transmit ideas and values. Friedman has exhibited and performed at numerous galleries and institutions including MoMA/PS1, Omi International Art Center, Queens Museum, Gallery Diet, The Fabric Workshop, Volta NYC, Joslyn Museum, Jack Tilton Gallery, and Neues Kunstforum. He lives between Lincoln, Nebraska and Brooklyn with his wife, the artist, Nancy Friedemann. Together, they are co-directors of the exhibition space Fiendish Plots, located in Lincoln.


Release date: 2016 July 19

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]]> David Colosi in conversation with artist Charley Friedman on Friedman's sculpture and photography, his relationship with humor, and his influences -- ranging from Lenny Bruce to Brian Eno. The glue that binds Charley Friedman’s work is humor. The crux of his work is to explore the absurd, tragic, and contradictory nature of living. Themes in his work reflect his preoccupations with how individuals, nations, and cultures form and transmit ideas and values. Friedman has exhibited and performed at numerous galleries and institutions including MoMA/PS1, Omi International Art Center, Queens Museum, Gallery Diet, The Fabric Workshop, Volta NYC, Joslyn Museum, Jack Tilton Gallery, and Neues Kunstforum. He lives between Lincoln, Nebraska and Brooklyn with his wife, the artist, Nancy Friedemann. Together, they are co-directors of the exhibition space Fiendish Plots, located in Lincoln.


Release date: 2016 July 19

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]]> Interview: Amy Scholder Interview: Amy Scholder Tue, 31 May 2016 18:43:53 GMT 1:00:41 5ba3eaabb941b8bf7e836cd5 false http://www.davidcolosi.com/radio.html 5ba3eaabb941b8bf7e836cd5 5ba3e27db941b8bf7e836cd1 amy-scholder Icon full 1 5 Host David Colosi sits down with Amy Scholder to discuss her three decade history in the field of publishing, her iconic series High Risk, as well as her most recent project, Icon, an anthology of essays on public figures written by some of the industry's most provocative writers, edited by Scholder and released by The Feminist Press. Amy Scholder has been editing and publishing progressive and literary books for over twenty-five years. She has published the work of Sapphire, Karen Finley, June Jordan, Kate Bornstein, Kathy Acker, David Wojnarowicz, Dorothy Allison, Mary Gaitskill, Joni Mitchell, Justin Vivian Bond, and Paul B. Preciado, and many other award-winning authors. She serves on the Board of Trustees for Lambda Literary, and divides her time between New York and Los Angeles.


Release date: 2016 May 31

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]]> Host David Colosi sits down with Amy Scholder to discuss her three decade history in the field of publishing, her iconic series High Risk, as well as her most recent project, Icon, an anthology of essays on public figures written by some of the industry's most provocative writers, edited by Scholder and released by The Feminist Press. Amy Scholder has been editing and publishing progressive and literary books for over twenty-five years. She has published the work of Sapphire, Karen Finley, June Jordan, Kate Bornstein, Kathy Acker, David Wojnarowicz, Dorothy Allison, Mary Gaitskill, Joni Mitchell, Justin Vivian Bond, and Paul B. Preciado, and many other award-winning authors. She serves on the Board of Trustees for Lambda Literary, and divides her time between New York and Los Angeles.


Release date: 2016 May 31

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]]> Interview: Peter Shelton Interview: Peter Shelton Fri, 11 Mar 2016 19:34:36 GMT 40:16 5ba3e942bc6bc3926daa5b07 false http://www.davidcolosi.com/radio.html 5ba3e942bc6bc3926daa5b07 5ba3e27db941b8bf7e836cd1 peter-shelton Professional Boy full 1 4 David Colosi in conversation with Peter Shelton, discussing Shelton's sculpture practice. Shelton is an artist who has been populating the world with sculpture since the 1970s, with environmental scaled works, biomorphic forms, and anatomic parallaxes take the sculptural premise of occupying space to its perfect end. Manipulating scale, size, and space; architecture, anatomy, and engineering; inflation, verisimilitude, and poetry, his work engages the minds of our human bodies in a dialog between inside and outside, subject and object, and close encounters with the thingness of Art. A childhood passion for anatomy led him to a BA at Pomona College in California studying at first pre-med, then anthropology and theater, which became the foundations for his sculptural interests when he transitioned to earning trade certifications at Hobart School of Welding in Troy Ohio and an MFA at UCLA. Shelton has been the recipient of a Guggenheim Fellowship, multiple NEA grants and a Louis Comfort Tiffany Foundation Grant; he has shown nationally and internationally, primarily with L.A. Louver and Gallery Sperone (currently Sperone Westwater); his work is part of the collections of most Modern and Contemporary art museums in the United States and Europe among which include the Panza and Eli Broad Collection, the J. Paul Getty Museum, the LA County Museum, MoMA in New York and San Francisco, MoCA in Los Angeles, the Smithsonian American Art Museum and the Walker Art Center; and he currently has four public commissions in the cites of Seattle, Indianapolis and Los Angeles, the last of which has been his home and base of operations since the mid-1970s.


Release date: 2016 March 11

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]]> David Colosi in conversation with Peter Shelton, discussing Shelton's sculpture practice. Shelton is an artist who has been populating the world with sculpture since the 1970s, with environmental scaled works, biomorphic forms, and anatomic parallaxes take the sculptural premise of occupying space to its perfect end. Manipulating scale, size, and space; architecture, anatomy, and engineering; inflation, verisimilitude, and poetry, his work engages the minds of our human bodies in a dialog between inside and outside, subject and object, and close encounters with the thingness of Art. A childhood passion for anatomy led him to a BA at Pomona College in California studying at first pre-med, then anthropology and theater, which became the foundations for his sculptural interests when he transitioned to earning trade certifications at Hobart School of Welding in Troy Ohio and an MFA at UCLA. Shelton has been the recipient of a Guggenheim Fellowship, multiple NEA grants and a Louis Comfort Tiffany Foundation Grant; he has shown nationally and internationally, primarily with L.A. Louver and Gallery Sperone (currently Sperone Westwater); his work is part of the collections of most Modern and Contemporary art museums in the United States and Europe among which include the Panza and Eli Broad Collection, the J. Paul Getty Museum, the LA County Museum, MoMA in New York and San Francisco, MoCA in Los Angeles, the Smithsonian American Art Museum and the Walker Art Center; and he currently has four public commissions in the cites of Seattle, Indianapolis and Los Angeles, the last of which has been his home and base of operations since the mid-1970s.


Release date: 2016 March 11

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]]> Interview: Jason Forrest Interview: Jason Forrest Mon, 16 Nov 2015 19:39:42 GMT 23:04 5ba3e9b1b941b8bf7e836cd4 false http://www.davidcolosi.com/radio.html 5ba3e9b1b941b8bf7e836cd4 5ba3e27db941b8bf7e836cd1 jason-forrest Network Awesome full 1 2 An electronic musician working in a variety of styles and founder and Creative Director of Network Awesome, an online TV Network, Jason Forrest also runs two record labels, Nightshifters (for club music) and Cock Rock Disco (for experimental sounds). It is obvious why host David Colosi calls Forrest a polymath. In this interview, Forrest talks in great detail about Network Awesome, describing it as longform media platform. It has a bright spectrum of content, carrying anything from documentaries to contemporary artists to Japanese cartoons to Vegan cooking shows. Forrest’s music is heavily sample based, intercut with hard drum and bass beats, classic rock and EDM influence, yet filtered through the perspective of an art student experimenting with art appropriation form. The artist remarks how this way of taking bits and pieces of culture and building works around them is fundamental in both his music and the structure of Network Awesome. Forrest’s sample-based music has been a pioneering force in the experimental music community since 1999. He has released records in the US, UK, EU, and Japan, has played on four continents, garnering him a large international audience along the way. In 2010, Forrest was asked to make the only official remix commissioned for Arcade Fire’s song No Cars Go for Merge Records 20 year anniversary remix compilation. The video War Photographer by Joel Thrussell was named video of the year by Res magazine 2006 and was included in the top 5 best music videos by Pitchfork media that year. It has been downloaded more than one million times (crazy, right?) The Steppin Off video directed by Jon Watts was also named video of the year by Res magazine, 2005.


Release date: 2015 November 16

Hosted on Acast. See acast.com/privacy for more information.

]]> An electronic musician working in a variety of styles and founder and Creative Director of Network Awesome, an online TV Network, Jason Forrest also runs two record labels, Nightshifters (for club music) and Cock Rock Disco (for experimental sounds). It is obvious why host David Colosi calls Forrest a polymath. In this interview, Forrest talks in great detail about Network Awesome, describing it as longform media platform. It has a bright spectrum of content, carrying anything from documentaries to contemporary artists to Japanese cartoons to Vegan cooking shows. Forrest’s music is heavily sample based, intercut with hard drum and bass beats, classic rock and EDM influence, yet filtered through the perspective of an art student experimenting with art appropriation form. The artist remarks how this way of taking bits and pieces of culture and building works around them is fundamental in both his music and the structure of Network Awesome. Forrest’s sample-based music has been a pioneering force in the experimental music community since 1999. He has released records in the US, UK, EU, and Japan, has played on four continents, garnering him a large international audience along the way. In 2010, Forrest was asked to make the only official remix commissioned for Arcade Fire’s song No Cars Go for Merge Records 20 year anniversary remix compilation. The video War Photographer by Joel Thrussell was named video of the year by Res magazine 2006 and was included in the top 5 best music videos by Pitchfork media that year. It has been downloaded more than one million times (crazy, right?) The Steppin Off video directed by Jon Watts was also named video of the year by Res magazine, 2005.


Release date: 2015 November 16

Hosted on Acast. See acast.com/privacy for more information.

]]> Interview: Jen Ray Interview: Jen Ray Thu, 08 Oct 2015 18:40:57 GMT 24:53 5ba3e9f7bc6bc3926daa5b08 false http://www.davidcolosi.com/radio.html 5ba3e9f7bc6bc3926daa5b08 5ba3e27db941b8bf7e836cd1 jen-ray Deep Cuts full 1 1 David Colosi in conversation with surrealist artist, Jen Ray, about her Deep Cuts solo exhibition at Albertz Benda Gallery in Chelsea, marking the homecoming of the previously Berlin-based Ray to her native United States. Ray's large-scale works are known for their surreal landscapes, where Amazonian women rule, militants move across dystopian fields, and uneasy spaces are occupied by rebels and provocateurs. Her art has been shown in museums and galleries in cities including New York, Berlin, and Paris. Deep Cuts is on view at Albertz Benda Gallery in Chelsea, October 8- November 7, 2015.


Release date: 2015 October 08

Hosted on Acast. See acast.com/privacy for more information.

]]> David Colosi in conversation with surrealist artist, Jen Ray, about her Deep Cuts solo exhibition at Albertz Benda Gallery in Chelsea, marking the homecoming of the previously Berlin-based Ray to her native United States. Ray's large-scale works are known for their surreal landscapes, where Amazonian women rule, militants move across dystopian fields, and uneasy spaces are occupied by rebels and provocateurs. Her art has been shown in museums and galleries in cities including New York, Berlin, and Paris. Deep Cuts is on view at Albertz Benda Gallery in Chelsea, October 8- November 7, 2015.


Release date: 2015 October 08

Hosted on Acast. See acast.com/privacy for more information.

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