[spectre] Radio Web MACBA - Most listened podcasts April 2022

[Radio Web MACBA]

Radio Web MACBA <https://rwm.macba.cat/en> - Most listened podcasts April
2022

*1/ Jara Rocha:
<https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha> "Necesitamos
ocuparnos de detectar zonas de potencia (...) que la disidencia no consista
solo en una actitud antagónica sino también afirmativa; encontrar zonas en
las que podrían organizarse las relaciones de aprendizaje de una manera más
justa, más invitante a agencias otras que ahora mismo están excluidas. Ahí
es donde está la sensibilidad de la pedogagía radical, crítica, o
libertaria." (only available in Spanish)*

Researcher and activist Jara Rocha’s practice is concerned with mediating
and mobilising the conditions of meaning production and materials for
possibility. Fond of complexity and grounded in a trans*feminist
sensibility, they explore the inequalities and stark contrasts in the
distribution of the technological. They draw attention to the politics and
aesthetics embedded in infrastructures and to how power organises itself,
becoming simultaneously visible and inaccessible.

Link: https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha

*2/ Marina <https://rwm.macba.cat/es/sonia/sonia-351-marina-garces> Garcés:
<https://rwm.macba.cat/es/sonia/sonia-351-marina-garces> “La idea de la
educación como invitación es precisamente esta: no pienses como yo, piensa
conmigo. No hagas como yo, haz conmigo. No dibujes como yo, vamos a dibujar
juntos. Es decir, que no quiere decir ni igual ni del mismo modo, sino unos
con otros.” (only available in Spanish)*

We talk with philosopher, writer, and teacher Marina Garcés about education
and knowledge, about the future, and about time as raw material. We
consider the question of how to appear and think with others in this
present moment, which demands our active involvement. We discuss the
meeting of unequals, and the possibility of strangeness becoming a link. We
also explore the logic of the sinking ship or “every man for himself” and
the evolution of the words “disobedience” and “freedom”, which leads Marina
to emphasise the importance of forming alliances rather than thinking from
the reductionist position of unity. At the same time, she invites us to
imagine how to weave together worlds that are falling apart.
<https://rwm.macba.cat/en/sonia/sonia-351-marina-garces>
Link: https://rwm.macba.cat/es/sonia/sonia-351-marina-garces

*3/ Jon Leidecker:
<https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc>
"As recording supplanted sheet music in the 20th century, the presence of
communal influence became unavoidably obvious once again as composers began
to use recordings to make new recordings. From the beginning, recordings
have been instruments."*

‘Variation’ is the formal term for a musical composition based on a
previous musical work, and many of those traditional methods (changing the
key, meter, rhythm, harmonies or tempi of a piece) are used in much the
same manner today by sampling musicians. But the practice of sampling is
more than a simple modernization or expansion of the number of options
available to those who seek their inspiration in the refinement of previous
composition. The history of this music traces nearly as far back as the
advent of recording, and its emergence and development mirrors the
increasingly selfconscious relationship of society to its experience of
music. Starting with the precedents achieved by Charles Ives and John Cage,
VARIATIONS
<https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc>
presents
an overview of the major landmarks in Sampling Music, following examples in
twentieth century composition, folk art and commercial media through to the
meeting of all those threads in the present day. Curated and produced by
Jon Leidecker.

Link:
https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc

*4/ Chris Cutler's PROBES #32.2 Auxiliaries
<https://rwm.macba.cat/en/research/probes-322-auxiliaries>*

Amongst the new acoustic inventions Chris Cutler's PROBES #32.2 Auxiliaries
<https://rwm.macba.cat/en/research/probes-322-auxiliaries>highlights: the
Rumitone, the Uberorgan, a whole Anarchestra, Philip Dadson's Sproings, a
Violimba, some scraper flutes, an Aquavine, Diego Stocco's Custom-built
Orchestra, an elastic aerophone-centriphone, Leonardo da Vinci's viola
organista, Martin Molin's heroic Marble Machine and many other hopeful and
inspired monsters.

*5/ Walter Mignolo:
<https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo>"La historia
universal es una manera de mantener el control narrativo del conocimiento.
Para nosotros la historia es parte fundamental de la colonialidad del
saber. Las instituciones que están detrás de esto son la universidad y el
Museo también." (only available in Spanish)*

Walter Mignolo <https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo> talks
about the relation between the construction of history and the perspective
of power, as imposed by the West. In this conversation, he also explores
the ways in which art and museums have contributed to the construction of
the colonial matrix, and the strategies that contemporary theory has come
up with to influence this Westernised view of the museum as a centre of
knowledge.

Link: https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo

*E/N/J/O/Y!*

*+*
*TAKE CARE!*
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