The first episode of Pickle Bar Podcast introduces Zavier Wingham’s lecture “A Brief History of the African Diaspora in the Ottoman Empire and Modern Turkey”. The podcast is the first in a series exploring various articulations of Black identity in Central Asia, Caucasus and Eastern Europe as an attempt to complicate the Atlanticist notion of race most of us are familiar with. 

The lecture was held on 5th March 2021 in the framework of the extended program for the exhibition “1 Million Roses for Angela Davis” at the Albertinum (Staatliche Kunstsammlungen Dresden) with the kind support of Goethe-Institut New York. 

Zavier Wingham is a PhD candidate in the joint program for History and Middle East and Islamic Studies at New York University and currently a PhD fellow at Koç University’s Research Center for Anatolian Civilizations. He is also an editor at Ajam Media Collective.

Audio production by Audiokombinat, Berlin.

Zavier Wingham: A Brief History of the African Diaspora in the Ottoman Empire and Modern Turkey

"Ich gehe zu meinem Galerist" wuerde geschrieben fuer alle Kuenstler dieser Welt.

Mehr Info via http://www.hanskuiper.com

Ich gehe zu meinem Galerist

Après sa lecture-performance « Dying on Stage » dans le cadre du Laboratoire proposé à Jérôme Bel, Christodoulos Panayiotou revient au CN D pour « Je la chante mais je ne peux pas l’écouter ». Observant les états de présence / transparence à l’œuvre sur scène, « Je la chante mais je ne peux pas l’écouter » se concentre sur des motifs d’interprètes regardant d’autres interprètes performer, et d’interprètes regardant leur propre image. La lecture s’articule autour d’une série de vidéos YouTube.

Christodoulos Panayiotou Je la chante mais je ne peux pas l’écouter — 13.03.2018 au CN D

Rosalux artist talk with James Newitt (artist) on the ocasion of the solo show "IF THEY FALL" by James Newitt, rosalux, Berlin September/October 2010. Interviewer: Tiny Domingos. Also participating: Sarah Jones (curator of the show) 

Artist talk between James Newitt and Tiny Domingos. James narrated biographical details as an artist between video art and photography who started his artistic career in the field of graphic design.

The main subject in the conversation was the exhibition project showed at rosalux and the “art” to not taking sides in a conflict between two stakeholders (here the forest industry and environmentalists in Tasmania). They also discussed with the public the current art scene in Australia and the chances for young Australian artists.

Rosaluxdotcom-artist talk-James Newitt

Cycle « Poétiques d'écrivains. Césaire, Fanon, Glissant, Frankétienne » par Jacques Coursil, Institut du Tout-Monde, 2020. 1ère conférence, mardi 14 janvier 2020, Paris Maison de l'Amérique latine. « Négritude, la grammaire de Caliban ». Voir site de l'ITM, à la page : http://tout-monde.com/cyclepoetecr.html

Négritude, la grammaire de Caliban

While we cannot see small nanoscopic objects like proteins or other molecules that make up virtually all living matter including our cells, tissues, as well as pathogens such as viruses, our computational algorithm allows us to make its material manifestation audible.  This piece is a musical representation of the amino acid sequence and structure of the spike protein of the pathogen of COVID-19, 2019-nCoV (protein data bank identifier 6VSB [1]). 

MUSICAL DECEIT

A virus’ genome hijacks the host cell’s protein manufacturing machinery, and forces it to replicate the viral genome and produce viral proteins to make new viruses from it.  This musical art teaches us something about the fine line between beauty of life and death as an opposite pole.  As you listen to the protein you will find that the intricate design results in incredibly interesting and actually pleasing, relaxing sounds. This doesn’t really convey the deadly impacts this particularly protein is having on the world. This aspect of the music shows the deceiving nature of the virus, how it hijacks our body to replicate, and hurt us along the way. So, the music is a metaphor for this nature of the virus to deceive the host and exploit it for its own multiplication. 

HOW IT IS DONE: 

What you hear is a multi-layered algorithmic composition featuring both the vibrational spectrum of the entire protein (expressed in sound and rhythmic elements), the sequence and folding of amino acids that compose the virus spike structure, as well as interwoven melodies - forming counterpoint music - reflecting the complex hierarchical intersecting geometry of the protein [2].

Scientific references:

[1] Wrapp et al., "Cryo-EM structure of the 2019-nCoV spike in the prefusion conformation," Science, 2020, DOI: 10.1126/science.abb2507

[2] Buehler et al., "A Self-Consistent Sonification Method to Translate Amino Acid Sequences into Musical Compositions and Application in Protein Design Using Artificial Intelligence," ACS Nano, 2019, DOI: pubs.acs.org/doi/10.1021/acsnano.9b02180

Viral counterpoint of the coronavirus spike protein (2019-nCoV)

Viral Counterpoint of the Coronavirus Spike Protein (2019-nCoV)

par Wajdi Mouawad

Ouvert dès mardi 17 mars, Wajdi Mouawad, directeur de La Colline vous donne rendez-vous du lundi au vendredi à 11 heures pour un épisode sonore inédit de son journal d’un confinement, de sa propre expérience à ses errances poétiques : Une parole d'humain confiné à humain confiné. Une fois par jour des mots comme des fenêtres pour fendre la brutalité de cet horizon.

Lundi 16 mars - Journal de confinement - Jour 1

Vendredi 3 avril - Journal de confinement - Jour 18

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. In the run-up to the conference The White West IV: Whose Universal? (summer 2021), the podcast invites participants of the conference to discuss the overlaps between metaphysical predicates and colonial formations.

Anselm Franke in conversation with Dirk Moses

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Episode 4: Dirk Moses | The White West: Whose Universal?

Até agora inédito, este soneto de Fernando Pessoa é um dos cinco revelados no primeiro número da edição portuguesa da revista Granta [granta@tintadachina.pt].
O actor Gonçalo Waddington [http://pt.wikipedia.org/wiki/Gon%C3%A7alo_Waddington] leu-o, a pedido da Granta, para a versão electrónica do semanário Expresso de 1 de Junho de 2013.

Soneto de Fernando Pessoa dito por Gonçalo Waddington

The legacies of colonialism tend to find expression in a language that contemporary audiences find familiar and compelling, and hence remain largely unquestioned. In the run-up to the conference The White West IV: Whose Universal? (summer 2021), the podcast invites participants of the conference to discuss the overlaps between metaphysical predicates and colonial formations.

Kader Attia in conversation with Olivier Marboeuf

More information:
www.hkw.de/whoseuniversal
www.hkw.de/en/thewhitewest

Rosaluxdotcom-artist talk-James Newitt

rosaluxdotcom

Related tracks