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Talking about the real things going in life. The dirty dirty in life.

Unapologetic with JT

Konferanse - Samfunnsansvar (mp3)

Olathe View Baptist Church

Forskningsdagene 2009 - Video

Welcome Unbounded Podcast This podcast is an introspective look at my life in and out the Marine Corps, the people I’ve met, the lessons I’ve learned, the women I’ve dated and the multitude of experiences that have shaped and reinforced the positive thinking and impact on(or in) my life.

Unbounded Podcast

Juan soluciona tu vida.

Welcome to Sussex Universities Drag Society Podcast. 
We will be broadcasting weekly podcasts, talking to members of the society about the cultural, political, and social awareness of drag, with special guests appearing through the show.

Welcome to Sussex Universities Drag Society Podcast. We will be broadcasting weekly podcasts, talking to members of the society about the cultural, political, and social awareness of drag, with special guests appearing through the show.

DragSoc Podcast

Radio88 Italia

Hosted by Colm Doyle, Klokta offers thoughts on Technology, Developer Relations and more.

Klokta

Die Aktualität seiner Sprache, Prosa und Kunstkritik
Do, 02.02.2017 – Sa, 04.02.2017
ZKM Vortragssaal

Das ZKM | Karlsruhe, das Museum für Literatur am Oberrhein und die Carl-Einstein-Gesellschaft / Société Carl Einstein e. V. veranstalten im Februar 2017 zum ersten Mal eine Carl-Einstein-Konferenz in der Jugendstadt des Autors. Die Tagung fragt nach den Potenzialen von Einsteins Schreiben, seinen zeitgenössischen Einflüssen und den Nachwirkungen seines Werkes für die Literatur- und Kunstgeschichte.
Der Dichter, Kunstkritiker, Ausstellungsmacher und politische Aktivist Carl Einstein (1885-1940) ist 1888 bis 1904 in Karlsruhe aufgewachsen, lebte zwischen 1905 und 1928 in Berlin und danach in Paris, bevor er sich ab 1936 in Katalonien dem Spanischen Bürgerkrieg anschloss.
Die Rezeption des Werkes von Carl Einstein gilt als Auszeichnung für Insider, denn obwohl er Zeitgenosse, Kritiker und Promoter der modernsten Kunst gewesen ist und u. a. mit Franz Pfemfert (Die Aktion), dem Galeristen Daniel-Henry Kahnweiler oder dem Künstler Georges Braque eng befreundet war, wurden seine publizierten Schriften und nachgelassenen Aufzeichnungen erst spät wiederentdeckt. In seiner Heimatstadt Karlsruhe gibt es kaum eine Einstein-Erinnerungskultur. Der Schriftsteller steht exemplarisch für die Vertreibung der intellektuellen, jüdischen Elite in Deutschland in der ersten Hälfte des 20. Jahrhunderts.
Einstein wird als »Prophet der Avantgarde«, als Revolutionär in Literatur und Politik angesehen, aber eben auch als »Halbvergessener« bezeichnet, denn sein prekäres Leben und der Suizid auf der Flucht vor den Nazis erschwerten die Spurensuche nach seinem Werk. Mittlerweile sind die Arbeiten und die Person Einstein Dank der Carl-Einstein-Forschung in den Klassiker-Kanon der Kunstgeschichtsschreibung aufgerückt. Trotzdem bietet sein Werk beständig Anlass für Neuentdeckungen. So zählen Einsteins Lyrik, Kunstkritik und prosaische Schriften zu bedeutenden Zeugnissen einer Epoche der Moderne, in der er zu einem einflussreichen Vermittler im Kulturtransfer zwischen Paris und Berlin wurde und als Autor eine bis heute relevante Sprache der modernen Kunst prägte.
1912 veröffentlichte Einstein »Bebuquin oder die Dilettanten des Wunders«. Der als »Anti-Roman« konzipierte Text nimmt Dada und Surrealismus vorweg. 1915 erschien mit der »Negerplastik« eine Blickfelderweiterung gegenüber der Ästhetik der sogenannten primitiven Kunst. 1926 brachte Einstein das überaus erfolgreiche Übersichtswerk »Die Kunst des XX. Jahrhunderts« heraus. Typischerweise oblag die Kunstgeschichtsschreibung der Gegenwart damals den nicht-akademischen Fachvertretern. Als Kunstkritiker mit spitzer Feder begleitete Einstein den Expressionismus, Kubismus, Konstruktivismus und Surrealismus und war eine der prägenden Figuren der deutschen Kunstszene der 1920er Jahre. Einsteins Werk umfasst literarisches und wissenschaftliches Schreiben, Briefe sowie Interview-Aufzeichnungen, die einen Ausdruck sowohl seiner Zeit als auch seiner individuellen Ausdrucksweise vermitteln.

///

The Topicality of his Language, Prose, and Art Criticism
Thu, 02.02.2017 – Sat, 04.02.2017
ZKM Lecture Hall

The ZKM | Karlsruhe, the Museum für Literatur am Oberrhein and the Carl Einstein Society will host a conference on Carl Einstein in February 2017, to be held for the first time in the town of his youth. The conference asks about the potential of Einstein’s writing, his contemporary influences and the aftermath of his work in literature and art history.
The writer, art critic, exhibition organizer, and political activist Carl Einstein (1885-1940) spent his early years, from 1888 to 1904, in Karlsruhe. Between 1905 and 1928 he lived in Berlin and later in Paris, before joining the Spanish Civil War in Catalonia in 1936.
The reception of Carl Einstein’s work is considered something of an insiders’ feat. Although he was a contemporary critic and promoter of modernist art and a close friend of Franz Pfemfert (Die Aktion), the gallerist Daniel-Henry Kahnweiler, and the artist Georges Braque among others, his publications and manuscripts have been rediscovered only relatively recently. In his hometown Karlsruhe, a commemorative culture concerning Carl Einstein is still missing. The writer represents in exemplary fashion the expulsion of the intellectual Jewish elite in Germany in the first half of the 20th century. Einstein is regarded as a »prophet of the avant-garde«, as revolutionary in literature and politics, but has also been called »half-forgotten«. His precarious life, and his suicide during his flight from the Nazi regime, remain complicating factors in the search for traces of his literary remains.
Thanks to the extensive research work undertaken over the past thirty years, Carl Einstein’s name and works have been canonized in art historiography. His work continues to offer new insights, however. His poetry, art criticism and prose bear witness to the classical modern period. In the inter-war years he became an influential mediator for the cultural transfer between Paris and Berlin and as an author he shaped a specific language for modern art.
In 1912 Einstein published »Bebuquin oder die Dilettanten des Wunders«. This text was conceptualized as an »anti-novel«; as such it anticipated Dada and Surrealism. His essay »Negerplastik«, which opened a new perspective on so-called Primitive Art, appeared in 1915, succeeded in 1926 by a very successful survey of modern art, entitled »Die Kunst des XX. Jahrhunderts«. At that time it was customary that mainly non-academics wrote about contemporary art. As an art critic wielding a sharp pen, Carl Einstein accompanied relevant movements of contemporary art, such as Expressionism, Cubism, Constructivism, and Surrealism, and was an influential figure within the German art scene of the 1920s. Einstein’s work comprises literary essays and texts of art criticism, studies of art history and art historiography, letters and interview recordings that reveal both the tension of his epoch and his individual expression.

Die Aktualität seiner Sprache, Prosa und Kunstkritik Do, 02.02.2017 – Sa, 04.02.2017 ZKM Vortragssaal Das ZKM | Karlsruhe, das Museum für Literatur am Oberrhein und die Carl-Einstein-Gesellschaft / Société Carl Einstein e. V. veranstalten im Februar 2017 zum ersten Mal eine Carl-Einstein-Konferenz in der Jugendstadt des Autors. Die Tagung fragt nach den Potenzialen von Einsteins Schreiben, seinen zeitgenössischen Einflüssen und den Nachwirkungen seines Werkes für die Literatur- und Kunstgeschichte. Der Dichter, Kunstkritiker, Ausstellungsmacher und politische Aktivist Carl Einstein (1885-1940) ist 1888 bis 1904 in Karlsruhe aufgewachsen, lebte zwischen 1905 und 1928 in Berlin und danach in Paris, bevor er sich ab 1936 in Katalonien dem Spanischen Bürgerkrieg anschloss. Die Rezeption des Werkes von Carl Einstein gilt als Auszeichnung für Insider, denn obwohl er Zeitgenosse, Kritiker und Promoter der modernsten Kunst gewesen ist und u. a. mit Franz Pfemfert (Die Aktion), dem Galeristen Daniel-Henry Kahnweiler oder dem Künstler Georges Braque eng befreundet war, wurden seine publizierten Schriften und nachgelassenen Aufzeichnungen erst spät wiederentdeckt. In seiner Heimatstadt Karlsruhe gibt es kaum eine Einstein-Erinnerungskultur. Der Schriftsteller steht exemplarisch für die Vertreibung der intellektuellen, jüdischen Elite in Deutschland in der ersten Hälfte des 20. Jahrhunderts. Einstein wird als »Prophet der Avantgarde«, als Revolutionär in Literatur und Politik angesehen, aber eben auch als »Halbvergessener« bezeichnet, denn sein prekäres Leben und der Suizid auf der Flucht vor den Nazis erschwerten die Spurensuche nach seinem Werk. Mittlerweile sind die Arbeiten und die Person Einstein Dank der Carl-Einstein-Forschung in den Klassiker-Kanon der Kunstgeschichtsschreibung aufgerückt. Trotzdem bietet sein Werk beständig Anlass für Neuentdeckungen. So zählen Einsteins Lyrik, Kunstkritik und prosaische Schriften zu bedeutenden Zeugnissen einer Epoche der Moderne, in der er zu einem einflussreichen Vermittler im Kulturtransfer zwischen Paris und Berlin wurde und als Autor eine bis heute relevante Sprache der modernen Kunst prägte. 1912 veröffentlichte Einstein »Bebuquin oder die Dilettanten des Wunders«. Der als »Anti-Roman« konzipierte Text nimmt Dada und Surrealismus vorweg. 1915 erschien mit der »Negerplastik« eine Blickfelderweiterung gegenüber der Ästhetik der sogenannten primitiven Kunst. 1926 brachte Einstein das überaus erfolgreiche Übersichtswerk »Die Kunst des XX. Jahrhunderts« heraus. Typischerweise oblag die Kunstgeschichtsschreibung der Gegenwart damals den nicht-akademischen Fachvertretern. Als Kunstkritiker mit spitzer Feder begleitete Einstein den Expressionismus, Kubismus, Konstruktivismus und Surrealismus und war eine der prägenden Figuren der deutschen Kunstszene der 1920er Jahre. Einsteins Werk umfasst literarisches und wissenschaftliches Schreiben, Briefe sowie Interview-Aufzeichnungen, die einen Ausdruck sowohl seiner Zeit als auch seiner individuellen Ausdrucksweise vermitteln. /// The Topicality of his Language, Prose, and Art Criticism Thu, 02.02.2017 – Sat, 04.02.2017 ZKM Lecture Hall The ZKM | Karlsruhe, the Museum für Literatur am Oberrhein and the Carl Einstein Society will host a conference on Carl Einstein in February 2017, to be held for the first time in the town of his youth. The conference asks about the potential of Einstein’s writing, his contemporary influences and the aftermath of his work in literature and art history. The writer, art critic, exhibition organizer, and political activist Carl Einstein (1885-1940) spent his early years, from 1888 to 1904, in Karlsruhe. Between 1905 and 1928 he lived in Berlin and later in Paris, before joining the Spanish Civil War in Catalonia in 1936. The reception of Carl Einstein’s work is considered something of an insiders’ feat. Although he was a contemporary critic and promoter of modernist art and a close friend of Franz Pfemfert (Die Aktion), the gallerist Daniel-Henry Kahnweiler, and the artist Georges Braque among others, his publications and manuscripts have been rediscovered only relatively recently. In his hometown Karlsruhe, a commemorative culture concerning Carl Einstein is still missing. The writer represents in exemplary fashion the expulsion of the intellectual Jewish elite in Germany in the first half of the 20th century. Einstein is regarded as a »prophet of the avant-garde«, as revolutionary in literature and politics, but has also been called »half-forgotten«. His precarious life, and his suicide during his flight from the Nazi regime, remain complicating factors in the search for traces of his literary remains. Thanks to the extensive research work undertaken over the past thirty years, Carl Einstein’s name and works have been canonized in art historiography. His work continues to offer new insights, however. His poetry, art criticism and prose bear witness to the classical modern period. In the inter-war years he became an influential mediator for the cultural transfer between Paris and Berlin and as an author he shaped a specific language for modern art. In 1912 Einstein published »Bebuquin oder die Dilettanten des Wunders«. This text was conceptualized as an »anti-novel«; as such it anticipated Dada and Surrealism. His essay »Negerplastik«, which opened a new perspective on so-called Primitive Art, appeared in 1915, succeeded in 1926 by a very successful survey of modern art, entitled »Die Kunst des XX. Jahrhunderts«. At that time it was customary that mainly non-academics wrote about contemporary art. As an art critic wielding a sharp pen, Carl Einstein accompanied relevant movements of contemporary art, such as Expressionism, Cubism, Constructivism, and Surrealism, and was an influential figure within the German art scene of the 1920s. Einstein’s work comprises literary essays and texts of art criticism, studies of art history and art historiography, letters and interview recordings that reveal both the tension of his epoch and his individual expression.

Die Aktualität seiner Sprache, Prosa und Kunstkritik
Do, 02.02.2017 – Sa, 04.02.2017
ZKM Vortragssaal

Das ZKM | Karlsruhe,&nbsp;das Museum für Literatur am Oberrhein und die Carl-Einstein-Gesellschaft&nbsp;/&nbsp;Société Carl Einstein e.&nbsp;V. veranstalten im Februar 2017 zum ersten Mal eine Carl-Einstein-Konferenz in der Jugendstadt des Autors. Die Tagung fragt nach den Potenzialen von Einsteins Schreiben, seinen zeitgenössischen Einflüssen und den Nachwirkungen seines Werkes für die Literatur- und Kunstgeschichte.
Der Dichter, Kunstkritiker, Ausstellungsmacher und politische Aktivist Carl Einstein (1885-1940) ist 1888 bis 1904 in Karlsruhe aufgewachsen, lebte zwischen 1905 und 1928 in Berlin und danach in Paris, bevor er sich ab 1936 in Katalonien dem Spanischen Bürgerkrieg anschloss.
Die Rezeption des Werkes von Carl Einstein gilt als Auszeichnung für Insider, denn obwohl er Zeitgenosse, Kritiker und Promoter der modernsten Kunst gewesen ist und u. a. mit Franz Pfemfert (Die Aktion), dem Galeristen Daniel-Henry Kahnweiler oder dem Künstler Georges Braque eng befreundet war, wurden seine publizierten Schriften und nachgelassenen Aufzeichnungen erst spät wiederentdeckt. In seiner Heimatstadt Karlsruhe gibt es kaum eine Einstein-Erinnerungskultur. Der Schriftsteller steht exemplarisch für die Vertreibung der intellektuellen, jüdischen Elite in Deutschland in der ersten Hälfte des 20. Jahrhunderts.
Einstein wird als »Prophet der Avantgarde«, als Revolutionär in Literatur und Politik angesehen, aber eben auch als »Halbvergessener«&nbsp;bezeichnet, denn sein prekäres Leben und der Suizid auf der Flucht vor den Nazis erschwerten die Spurensuche nach seinem Werk. Mittlerweile sind die Arbeiten und die Person Einstein Dank der Carl-Einstein-Forschung in den Klassiker-Kanon der Kunstgeschichtsschreibung aufgerückt. Trotzdem bietet sein Werk beständig Anlass für Neuentdeckungen. So zählen Einsteins Lyrik, Kunstkritik und prosaische Schriften zu bedeutenden Zeugnissen einer Epoche der Moderne, in der er zu einem einflussreichen Vermittler im Kulturtransfer zwischen Paris und Berlin wurde und als Autor eine bis heute relevante Sprache der modernen Kunst prägte.
1912 veröffentlichte Einstein »Bebuquin oder die Dilettanten des Wunders«. Der als »Anti-Roman«&nbsp;konzipierte Text nimmt Dada und Surrealismus vorweg. 1915 erschien mit der »Negerplastik« eine Blickfelderweiterung gegenüber der Ästhetik der sogenannten primitiven Kunst. 1926 brachte Einstein das überaus erfolgreiche Übersichtswerk&nbsp;»Die Kunst des XX. Jahrhunderts« heraus. Typischerweise oblag die Kunstgeschichtsschreibung der Gegenwart damals den nicht-akademischen Fachvertretern. Als Kunstkritiker mit spitzer Feder begleitete Einstein den Expressionismus, Kubismus, Konstruktivismus und Surrealismus und war eine der prägenden Figuren der deutschen Kunstszene der 1920er Jahre. Einsteins Werk umfasst literarisches und wissenschaftliches Schreiben, Briefe sowie Interview-Aufzeichnungen, die einen Ausdruck sowohl seiner Zeit als auch seiner individuellen Ausdrucksweise vermitteln.

///

The Topicality of his Language, Prose, and Art Criticism
Thu, 02.02.2017 – Sat, 04.02.2017
ZKM Lecture Hall

The ZKM | Karlsruhe, the Museum für Literatur am Oberrhein&nbsp;and the Carl Einstein Society will host a conference on Carl Einstein in February 2017, to be held for the first time in the town of his youth. The conference asks about the potential of Einstein’s writing, his contemporary influences and the aftermath of his work in literature and art history.
The writer, art critic, exhibition organizer, and political activist Carl Einstein (1885-1940) spent his early years, from 1888 to 1904, in Karlsruhe. Between 1905 and 1928 he lived in Berlin and later in Paris, before joining the Spanish Civil War in Catalonia in 1936.
The reception of Carl Einstein’s work is considered something of an insiders’ feat. Although he was a contemporary critic and promoter of modernist art and a close friend of Franz Pfemfert (Die Aktion), the gallerist Daniel-Henry Kahnweiler, and the artist Georges Braque among others, his publications and manuscripts have been rediscovered only relatively recently. In his hometown Karlsruhe, a commemorative culture concerning Carl Einstein is still missing. The writer represents in exemplary fashion the expulsion of the intellectual Jewish elite in Germany in the first half of the 20th century. Einstein is regarded as a »prophet of the avant-garde«, as revolutionary in literature and politics, but has also been called »half-forgotten«. His precarious life, and his suicide during his flight from the Nazi regime, remain complicating factors in the search for traces of his literary remains.
Thanks to the extensive research work undertaken over the past thirty years, Carl Einstein’s name and works have been canonized in art historiography. His work continues to offer new insights, however. His poetry, art criticism and prose bear witness to the classical modern period. In the inter-war years he became an influential mediator for the cultural transfer between Paris and Berlin and as an author he shaped a specific language for modern art.
In 1912 Einstein published »Bebuquin oder die Dilettanten des Wunders«. This text was conceptualized as an »anti-novel«; as such it anticipated Dada and Surrealism. His essay »Negerplastik«, which opened a new perspective on so-called Primitive Art, appeared in 1915, succeeded in 1926 by a very successful survey of modern art, entitled »Die Kunst des XX. Jahrhunderts«. At that time it was customary that mainly non-academics wrote about contemporary art. As an art critic wielding a sharp pen, Carl Einstein accompanied relevant movements of contemporary art, such as Expressionism, Cubism, Constructivism, and Surrealism, and was an influential figure within the German art scene of the 1920s. Einstein’s work comprises literary essays and texts of art criticism, studies of art history and art historiography, letters and interview recordings that reveal both the tension of his epoch and his individual expression.

Carl Einstein Re-Visited

Um podcast cheio de dicas biológicas pra você!

BioCast CSI

¿Cómo crear legiones de fans y no tener solamente consumidores? No todas las empresas lo pueden hacer, siendo una de ellas la compañía del ratón. Soy Cristina Luna, me encanta Disney y todos los viernes converso con un cómplice sobre las películas, los parques, los personajes, en fin todo de ese maravilloso mundo.

cluna@cborrador.com

¿Cómo crear legiones de fans y no tener solamente consumidores? No todas las empresas lo pueden hacer, siendo una de ellas la compañía del ratón. Soy Cristina Luna, me encanta Disney y todos los viernes converso con un cómplice sobre las películas, los parques, los personajes, en fin todo de ese maravilloso mundo. cluna@cborrador.com

LinkedIn Con Cola

ISACS17 – Resonant Worlds: Sound, Art & Science

Thu, 28.09.2017 – Sat, 30.09.2017

Cube, Lecture Hall, Media Lounge
Under the chairmanship of Morten Søndergaard and Peter Weibel the conference »ISACS17: Resonant Worlds  Curating Sound, Art & Science« takes place at the ZKM from 28–30 September, 2017. The conference addresses and debates the resonant worlds of sound, art, science and curation.

ISACS17 (re)investigates the  intersections of sound, art and science from the perspective of artistic / creative curation. The participants are asked to showcase, and reflect on, their own practices from the perspective of how and why choices are made in order to make things »work« – in the sense that it resonates in/with other people, contexts, culture, society, history, and »the world«. These are perhaps issues of (and effects from) embodied experiences, of language games, of existence.

Sound may reveal the hidden ontologies of things »out there« in the ‘resonant world’, which both art and science are aiming to describe and understand. It is a field which has seen much activity within post-humanism, post-phenomenology and post-positivism. However, these discourses seem far removed from the production and practice of art, where hard choices are made and decisions taken that frame how it embody experience; as well as how it may resonate with other things that »exist« in the world.

This conference seeks to enter into the grey zone(s) of where the production of that »resonance» takes place, through dialogues with people working there; asking some crucial questions about when and in what way the intersections of sound, art and science »works out« – is it based on subjective judgment calls, language games, contextual framings? Do works that ‘work well’ have a resonating quality (embodied, existential, cultural etc?) that we all share, or is the experience of resonance a matter of individual tastes etc?

We have invited keynotes and accepted papers based on double blind review-process, which all question or experiment with the academic format, such as curator-based research, performative academics, audio papers, and a variety of practice-based formats.

Program

Thursday 28 September

11.00-12.00: Arrival & registration. Vortragssaal. 
12.00: Welcome & Introduction by Morten Søndergaard, General Chair. KUBUS 
13.00: Keynote: Juliana Hodkinson (UK/DK) KUBUS. Chair: Rasmus Holmboe 
15.00-16.30: History Track 1. Vortragssaal Chair: Morten Søndergaard
 	
Paper 12. Ricardo Dal Farra: »About The History Of Sound Art, Music And Technology In Latin America«.
 	
Paper 32. Lluís Alexandre Casanovas Blanco: »The Blind, the Bats and the Radar: Acoustic Feedback in Postwar Sensory Models«.
 	
Paper 43. Budhaditya Chattopadhyay: »Expanded Object: Rereading the History of Sound Art«

17.00: Keynote: Palle Dahlstedt (S) KUBUS. Chair: Ludger Brummer 

From ca 19.30 KUBUS: == Art track. Chairs: IC, RH and MS

Pia Palme: »Vertical Ear: Charting the White Space of Listening«

Jianghao Hu: »Performance with Musicalized Water«
 	
Installations (All three days). KUBUS
 	
Paper 41. Budhaditya Chattopadhyay: »Talking Frame«
 	
Luz Maria Sanchez: »title tba«
 	 
Friday 29 September

9.30 Keynote: Luz Maria Sanchez (MEX), Vortragssaal. Chair: Morten Søndergaard 
11.00-12.00 The Science Track 2. Vortragssaal. Chair: Budhaditya Chattopadhyay 
 	
Paper 50. Louise K Wilson, John Bowers, Alan Smith and Peter Mathews: »Chthonic: 72 Hours below Earth Day«. 
 	
Paper 19. Stina Marie Hasse: »The sonic resonances of algorithms as cultural productions and aesthetic expressions«. 
 	  	 
14.00-15.30 The Curation Track 3. Vortragssaal Chair: Morten Søndergaard
 	
Paper 4. John Kannenberg: »Curating Sounds as Objects of Culture and Human Agency: A Case Study of The Museum of Portable Sound«
 	
Paper 22. Katharina Schmidt: »Curating the Soundscape on Radio«
 	
Paper 27. Tincuta Heinzel, Ioana Macrea-Toma, Irina
Bucan, Lasse Scherffig, Istvan Laszlo and Jon Dean: »Repertories of (in)discreetness - Curating Radio Free Europe’s archives« 

16.00 Keynote: Carl Michael von Hausswolff (S) KUBUS. Chair: Juliana Hodkinson 
 	 
 	 
From 19.30 KUBUS: == Art track. Chairs: IC, RH and MS
 	
Paper 21. Tina Mariane Krogh Madsen and Malte Steiner: »TMS: movement(al) distortion(s)«
 	
Paper 26. Astrid Schwarz, Angélica Castelló and Tobias Leibetseder: Steel Girls (Angélica Castelló, Tobias Leibetseder & Astrid Schwarz) »Momentum of the metal realm (2017) / Performance for Metal Objects, Electronics, Tapes and Analog Synthesizer«
 	
Paper 53. Magno Caliman: Oxx & Surprise 
 	 
Saturday 30 September 

09.30 Special Guest Speaker: Spencer Topel (US) KUBUS. Chair: Palle Dahlstedt 
11.00-12.30 Post-human Track 4 Vortragssaal. Chair: Stina Maria Hasse
 	
Paper 9. Scott Mc Laughlin: »Material Indeterminacy and de- centered Practice«.
 	
Paper 20. Tina Mariane Krogh Madsen: »Site – Body – Resonance«.
 	
Paper 51. Ben Freeth: »Resonant Hermeneutics«. 
 	 
14.00-15.00 The Uncuration Track 5 Vortragssaal. Chair: Rasmus Holmboe
 	
Paper 13. Lea Kannar-Lichtenberger: »Deception: convergence of spaces brings context to time«.
 	
Paper 48. Aaron James: »Live Curation: A Methodology Towards A New Platform for the Reception of Art« 

15.30-17.00 Keynote: Peter Weibel. Vortragssaal. Chair: Morten Søndergaard 

17.00-17.30: Final discussions and resonances 
 

Partners
Gastgeber der ISACS17 ist das ZKM in Zusammenarbeit mit der Universität Aalborg und dem DIAS Art Space, Dänemark.

///

ISACS17 – Resonant Worlds: Sound, Art & Science Thu, 28.09.2017 – Sat, 30.09.2017 Cube, Lecture Hall, Media Lounge Under the chairmanship of Morten Søndergaard and Peter Weibel the conference »ISACS17: Resonant Worlds  Curating Sound, Art & Science« takes place at the ZKM from 28–30 September, 2017. The conference addresses and debates the resonant worlds of sound, art, science and curation. ISACS17 (re)investigates the intersections of sound, art and science from the perspective of artistic / creative curation. The participants are asked to showcase, and reflect on, their own practices from the perspective of how and why choices are made in order to make things »work« – in the sense that it resonates in/with other people, contexts, culture, society, history, and »the world«. These are perhaps issues of (and effects from) embodied experiences, of language games, of existence. Sound may reveal the hidden ontologies of things »out there« in the ‘resonant world’, which both art and science are aiming to describe and understand. It is a field which has seen much activity within post-humanism, post-phenomenology and post-positivism. However, these discourses seem far removed from the production and practice of art, where hard choices are made and decisions taken that frame how it embody experience; as well as how it may resonate with other things that »exist« in the world. This conference seeks to enter into the grey zone(s) of where the production of that »resonance» takes place, through dialogues with people working there; asking some crucial questions about when and in what way the intersections of sound, art and science »works out« – is it based on subjective judgment calls, language games, contextual framings? Do works that ‘work well’ have a resonating quality (embodied, existential, cultural etc?) that we all share, or is the experience of resonance a matter of individual tastes etc? We have invited keynotes and accepted papers based on double blind review-process, which all question or experiment with the academic format, such as curator-based research, performative academics, audio papers, and a variety of practice-based formats. Program Thursday 28 September 11.00-12.00: Arrival & registration. Vortragssaal. 12.00: Welcome & Introduction by Morten Søndergaard, General Chair. KUBUS 13.00: Keynote: Juliana Hodkinson (UK/DK) KUBUS. Chair: Rasmus Holmboe 15.00-16.30: History Track 1. Vortragssaal Chair: Morten Søndergaard Paper 12. Ricardo Dal Farra: »About The History Of Sound Art, Music And Technology In Latin America«. Paper 32. Lluís Alexandre Casanovas Blanco: »The Blind, the Bats and the Radar: Acoustic Feedback in Postwar Sensory Models«. Paper 43. Budhaditya Chattopadhyay: »Expanded Object: Rereading the History of Sound Art« 17.00: Keynote: Palle Dahlstedt (S) KUBUS. Chair: Ludger Brummer From ca 19.30 KUBUS: == Art track. Chairs: IC, RH and MS Pia Palme: »Vertical Ear: Charting the White Space of Listening« Jianghao Hu: »Performance with Musicalized Water« Installations (All three days). KUBUS Paper 41. Budhaditya Chattopadhyay: »Talking Frame« Luz Maria Sanchez: »title tba« Friday 29 September 9.30 Keynote: Luz Maria Sanchez (MEX), Vortragssaal. Chair: Morten Søndergaard 11.00-12.00 The Science Track 2. Vortragssaal. Chair: Budhaditya Chattopadhyay Paper 50. Louise K Wilson, John Bowers, Alan Smith and Peter Mathews: »Chthonic: 72 Hours below Earth Day«. Paper 19. Stina Marie Hasse: »The sonic resonances of algorithms as cultural productions and aesthetic expressions«. 14.00-15.30 The Curation Track 3. Vortragssaal Chair: Morten Søndergaard Paper 4. John Kannenberg: »Curating Sounds as Objects of Culture and Human Agency: A Case Study of The Museum of Portable Sound« Paper 22. Katharina Schmidt: »Curating the Soundscape on Radio« Paper 27. Tincuta Heinzel, Ioana Macrea-Toma, Irina Bucan, Lasse Scherffig, Istvan Laszlo and Jon Dean: »Repertories of (in)discreetness - Curating Radio Free Europe’s archives« 16.00 Keynote: Carl Michael von Hausswolff (S) KUBUS. Chair: Juliana Hodkinson From 19.30 KUBUS: == Art track. Chairs: IC, RH and MS Paper 21. Tina Mariane Krogh Madsen and Malte Steiner: »TMS: movement(al) distortion(s)« Paper 26. Astrid Schwarz, Angélica Castelló and Tobias Leibetseder: Steel Girls (Angélica Castelló, Tobias Leibetseder & Astrid Schwarz) »Momentum of the metal realm (2017) / Performance for Metal Objects, Electronics, Tapes and Analog Synthesizer« Paper 53. Magno Caliman: Oxx & Surprise Saturday 30 September 09.30 Special Guest Speaker: Spencer Topel (US) KUBUS. Chair: Palle Dahlstedt 11.00-12.30 Post-human Track 4 Vortragssaal. Chair: Stina Maria Hasse Paper 9. Scott Mc Laughlin: »Material Indeterminacy and de- centered Practice«. Paper 20. Tina Mariane Krogh Madsen: »Site – Body – Resonance«. Paper 51. Ben Freeth: »Resonant Hermeneutics«. 14.00-15.00 The Uncuration Track 5 Vortragssaal. Chair: Rasmus Holmboe Paper 13. Lea Kannar-Lichtenberger: »Deception: convergence of spaces brings context to time«. Paper 48. Aaron James: »Live Curation: A Methodology Towards A New Platform for the Reception of Art« 15.30-17.00 Keynote: Peter Weibel. Vortragssaal. Chair: Morten Søndergaard 17.00-17.30: Final discussions and resonances Partners Gastgeber der ISACS17 ist das ZKM in Zusammenarbeit mit der Universität Aalborg und dem DIAS Art Space, Dänemark. ///

ISACS17 – Resonant Worlds: Sound, Art &amp; Science

Thu, 28.09.2017 – Sat, 30.09.2017

Cube, Lecture Hall, Media Lounge
Under the chairmanship of Morten Søndergaard and Peter Weibel the conference »ISACS17: Resonant Worlds  Curating Sound, Art &amp; Science« takes place at the ZKM from 28–30 September, 2017. The conference addresses and debates the resonant worlds of sound, art, science and curation.

ISACS17 (re)investigates the  intersections of sound, art and science from the perspective of artistic / creative curation. The participants are asked to showcase, and reflect on, their own practices from the perspective of how and why choices are made in order to make things »work« – in the sense that it resonates in/with other people, contexts, culture, society, history, and »the world«. These are perhaps issues of (and effects from) embodied experiences, of language games, of existence.

Sound may reveal the hidden ontologies of things »out there« in the ‘resonant world’, which both art and science are aiming to describe and understand. It is a field which has seen much activity within post-humanism, post-phenomenology and post-positivism. However, these discourses seem far removed from the production and practice of art, where hard choices are made and decisions taken that frame how it embody experience; as well as how it may resonate with other things that »exist« in the world.

This conference seeks to enter into the grey zone(s) of where the production of that »resonance» takes place, through dialogues with people working there; asking some crucial questions about when and in what way the intersections of sound, art and science »works out« – is it based on subjective judgment calls, language games, contextual framings? Do works that ‘work well’ have a resonating quality (embodied, existential, cultural etc?) that we all share, or is the experience of resonance a matter of individual tastes etc?

We have invited keynotes and accepted papers based on double blind review-process, which all question or experiment with the academic format, such as curator-based research, performative academics, audio papers, and a variety of practice-based formats.

Program

Thursday 28 September

11.00-12.00: Arrival &amp; registration. Vortragssaal. 
12.00: Welcome &amp; Introduction by Morten Søndergaard, General Chair. KUBUS 
13.00: Keynote: Juliana Hodkinson (UK/DK) KUBUS. Chair: Rasmus Holmboe 
15.00-16.30: History Track 1. Vortragssaal Chair: Morten Søndergaard
 	
Paper 12. Ricardo Dal Farra: »About The History Of Sound Art, Music And Technology In Latin America«.
 	
Paper 32. Lluís Alexandre Casanovas Blanco: »The Blind, the Bats and the Radar: Acoustic Feedback in Postwar Sensory Models«.
 	
Paper 43. Budhaditya Chattopadhyay: »Expanded Object: Rereading the History of Sound Art«

17.00: Keynote: Palle Dahlstedt (S) KUBUS. Chair: Ludger Brummer 

From ca 19.30 KUBUS: == Art track. Chairs: IC, RH and MS

Pia Palme: »Vertical Ear: Charting the White Space of Listening«

Jianghao Hu: »Performance with Musicalized Water«
 	
Installations (All three days). KUBUS
 	
Paper 41. Budhaditya Chattopadhyay: »Talking Frame«
 	
Luz Maria Sanchez: »title tba«
 	 
Friday 29 September

9.30 Keynote: Luz Maria Sanchez (MEX), Vortragssaal. Chair: Morten Søndergaard 
11.00-12.00 The Science Track 2. Vortragssaal. Chair: Budhaditya Chattopadhyay 
 	
Paper 50. Louise K Wilson, John Bowers, Alan Smith and Peter Mathews: »Chthonic: 72 Hours below Earth Day«. 
 	
Paper 19. Stina Marie Hasse: »The sonic resonances of algorithms as cultural productions and aesthetic expressions«. 
 	  	 
14.00-15.30 The Curation Track 3. Vortragssaal Chair: Morten Søndergaard
 	
Paper 4. John Kannenberg: »Curating Sounds as Objects of Culture and Human Agency: A Case Study of The Museum of Portable Sound«
 	
Paper 22. Katharina Schmidt: »Curating the Soundscape on Radio«
 	
Paper 27. Tincuta Heinzel, Ioana Macrea-Toma, Irina
Bucan, Lasse Scherffig, Istvan Laszlo and Jon Dean: »Repertories of (in)discreetness - Curating Radio Free Europe’s archives« 

16.00 Keynote: Carl Michael von Hausswolff (S) KUBUS. Chair: Juliana Hodkinson 
 	 
 	 
From 19.30 KUBUS: == Art track. Chairs: IC, RH and MS
 	
Paper 21. Tina Mariane Krogh Madsen and Malte Steiner: »TMS: movement(al) distortion(s)«
 	
Paper 26. Astrid Schwarz, Angélica Castelló and Tobias Leibetseder: Steel Girls (Angélica Castelló, Tobias Leibetseder &amp; Astrid Schwarz) »Momentum of the metal realm (2017) / Performance for Metal Objects, Electronics, Tapes and Analog Synthesizer«
 	
Paper 53. Magno Caliman: Oxx &amp; Surprise 
 	 
Saturday 30 September 

09.30 Special Guest Speaker: Spencer Topel (US) KUBUS. Chair: Palle Dahlstedt 
11.00-12.30 Post-human Track 4 Vortragssaal. Chair: Stina Maria Hasse
 	
Paper 9. Scott Mc Laughlin: »Material Indeterminacy and de- centered Practice«.
 	
Paper 20. Tina Mariane Krogh Madsen: »Site – Body – Resonance«.
 	
Paper 51. Ben Freeth: »Resonant Hermeneutics«. 
 	 
14.00-15.00 The Uncuration Track 5 Vortragssaal. Chair: Rasmus Holmboe
 	
Paper 13. Lea Kannar-Lichtenberger: »Deception: convergence of spaces brings context to time«.
 	
Paper 48. Aaron James: »Live Curation: A Methodology Towards A New Platform for the Reception of Art« 

15.30-17.00 Keynote: Peter Weibel. Vortragssaal. Chair: Morten Søndergaard 

17.00-17.30: Final discussions and resonances 
 

Partners
Gastgeber der ISACS17 ist das ZKM in Zusammenarbeit mit der Universität Aalborg und dem DIAS Art Space, Dänemark.

///

ISACS17 – Resonant Worlds: Sound, Art & Science

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