The Napping Wizard Sessions

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

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

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

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 / 73If Loving You is Wrong, I Don’t Want to be Right, LUTHER INGRAMBaby, Baby, I’m Hooked on You, MAC DAVISAin’t No Sunshine When She’s Gone, BILL WITHERSYou’re so Vain, CARLY SIMONLean On Me, BILL WITHERSMe and Mrs. Jones, BILLY PAULTHE 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 TelevisionFINNEGANS WAKE read by Patrick Horgan, 1985, Book II, Episode I Hosted on Acast. See acast.com/privacy for more information.

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

The following is a transcript from a lecture I delivered at A Night of Philosophy, a free event that hosted 62 international philosophers and 12 artists on April 24, 2015 from 7pm to 7am simultaneously at the French Embassy and The Ukrainian Institute on New York City’s Upper East Side. I was invited as an artist, and I chose the subject of the shape-shifting character Leshonkii, of Ukrainian, Russian and Slavic folklore, to adapt to the site of the Ukrainian Institute. As an artist, the logical shape to shift into was that of a philosopher. I delivered my lecture in a crowded auditorium on The Philosophy of the Comic and Tickling at 03:50 am. I have no audio or video documentation of the event, so this is a post-performance presentation. The laugh tracks and supplemental audio was included in the live performance. Hosted on Acast. See acast.com/privacy for more information.

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

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

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

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

Even a Fool Learns to Love, now that’s a David Bowie song that most people haven’t heard of. We also didn’t know there was a link between Life On Mars? and My Way. What? Frank Sinatra and David Bowie? Or is it Paul Anka and Claude Francois? Or maybe it’s Barbara Streisand and Sid Vicious. It gets confusing. In this episode I unravel how David Bowie made Life on Mars? as a parody and a revenge song of My Way.This episode includes found footage of David Bowie and Paul Anka interviews, various samples of Even a Fool Learns to Love, Comme d’Habitude, My Way and Life on Mars?, also Maya Beisler, Seu Jorge and Barbara Streisand performing Life on Mars? The end features Elise Ald covering Comme d’Habitude, Nina Simone covering My Way and AURORA covering Life on Mars? Hosted on Acast. See acast.com/privacy for more information.

Pheasants should have arms. Hosted on Acast. See acast.com/privacy for more information.

In this episode I stage a reenactment of the introduction to Harry Mathews' novel Tlooth.I produced this in a podcasting seminar at BRIC in 2016 with my fellow participants lending their voices. Hosted on Acast. See acast.com/privacy for more information.

In this session I go back to the ONE SONG format with a flip. I still take a deep dive into one, well, riff, it just happens to be repeated in several songs. This one song has consistently found its place on top of the pop music charts for over four decades crossing genres and under different guises. Young musicians looking for a breakout hit and seasoned musicians looking to make a comeback need to listen to this show. One song can make all the difference, and this one is tested and – usually – always wins.(Lou Reed, Negativland) You Can’t Hurry Love, The Supremes, 1966; I’m Ready For Love, Martha and the Vandellas, 1966; C’Mon Marianne, Frankie Valli and the Four Seasons, 1967; Touch Me, The Doors, 1968; ((You Can’t Hurry God) He’s Right On Time, Dorothy Love Coates, 1953); (I'm Ready for Love, Temptations, 1967); C’mon Marianne, Donny Osmond, 1976; Lust for Life, Iggy Pop, 1977; Heart, Rockpile, 1980; A Town Called Malice, The Jam, 1982; You Can’t Hurry Love, Phil Collins, 1982; Walking on Sunshine, Katrina and the Waves, 1983/1985; You Can’t Hurry Love, Dixie Chicks, 1999; Are You Gonna Be My Girl?, Jet, 2003; Selfish Jean, Travis, 2007; What is Happening? Alphabeat, 2007/2018; Valerie, Mark Ronson and Amy Winehouse, 2007; Lust for Life, J2 and Nicole Atkins, c2014. Hosted on Acast. See acast.com/privacy for more information.

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

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

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

I found John Giorno’s recordings in 1989. In this tribute I share a personal experience with his work and how it influenced me during my time in Los Angeles. I follow that with four of John’s long poems. I was fortunate to meet him in 2010 and tell him an extremely abbreviated version of this, but I never knew him. Included are samples from many of John’s recordings. Other samples are from William Burroughs, Led Zeppelin, Ronald Reagan, Allan Sekula, Felix Guattari, Brion Gysin, David Bowie, Kathy Acker, Allen Ginsberg, 22 Jump St., Velvet Underground, Robert Mapplethorpe video documentary, Ann Waldman, Sinead O’Connor, Body Count, Talking Heads, David Bowie, Peter Gabriel and Patti Smith. The four poems are Suicide Sutra (1974), Eating the Sky (1979), I Don’t Need It, I Don’t Want It, And You Cheated Me Out Of It (1981), and Completely Detached From Delusion (1981). My intro ends at the 20 minute mark, so if you want to skip ahead to John's poems, drag the slider to 20:00. Hosted on Acast. See acast.com/privacy for more information.

This just might be the most difficult-to-listen-to show I’ve made yet. You know those hidden songs at the end of some CDs: you hear the last one and then there’s acres of space and, wham, there’s a weird clip? Well that’s what this show is about. You have to have patience for this show, and with me, but this is the best way I could do a show about silence and surprise, and methods of exploiting new audio media. These songs would never have been played on the radio in the way they were made, but in the wild west of podcasting, even this goes! Keep this playing and you’ll hear clips from The Outer Limits, The Dust Brothers, Judas Priest, Weird Al Yankovic, The Beatles, Monty Python, Christina Aguilera, Jethro Tull, Public Enemy and Korn, and then complete songs by Alanis Morissette, Nirvana, The Donnas, Dragon Ash, The Cows, Negativland, Albert Ayler and Deee Lite. Wait for them all, and don’t adjust your (head)set. Hosted on Acast. See acast.com/privacy for more information.