The ideal society then is a type of neo feudalism or racialized feudal fascism.

In the late 1930s, the Soviet Union took in about nearly 3,000 child refugees of the Spanish Civil War. These kids, aged roughly from 5 to 12 years old, were placed in boarding schools in Leningrad, Moscow and elsewhere in the USSR. Their stay in this strange new land was supposed to be temporary. But fascist victory in the Spanish Civil War and the outbreak of WWII made them exiles for the foreseeable future. Now responsible to their rearing and education, Soviet officials and their Spanish minders transformed these children into hybrid Hispano-Soviets. They were steeped in patriotism for their two homelands and taught to emulate Spanish and Soviet heroes, scientists, soldiers, and artists. How did these Spanish children fare in the Soviet Union and live through the multiple traumas of their childhood? What did it mean to Hispano-Soviet? What was their fate and memory of growing up as a refugee? Here’s Karl Qualls with this little known story.

Guest:

Karl Qualls is the John B. Parsons Chair in Liberal Arts and Sciences and Professor of History at Dickinson College. He’s the author of From Ruins to Reconstruction: Urban Identity in Soviet Sevastopol after World War II. His new book is Stalin’s Niños: Educating Spanish Civil War Refugee Children in the Soviet Union, 1937-51 published by the University of Toronto Press.


Spanish Civil War Refugee Children in the USSR

Under Construction is a mix of the electromagnetic sounds from a construction site of a huge building and the sounds of small Japanese robots. 

Under Construction

Adam Tooze joins me to discuss his new book, 'Crashed: How a Decade of Financial Crises Changed the World'.

Part two: https://soundcloud.com/poltheoryother/23-adam-tooze-on-crashed-how-a-decade-of-financial-crises-changed-the-world-part-2

If you enjoy this episode please consider donating via Patreon:

https://www.patreon.com/poltheoryother

#20 Adam Tooze on 'Crashed: How a Decade of Financial Crises Changed the World' (Part 1)

Pip is a duo playing improvised and composed pieces of music, consisting of Torstein Lavik Larsen on trumpet and Fredrik Rasten on guitar. 
Long lasting, blending sounds with a basis in chord structures and harmony is an ever returning element in their music. 
Pip's music also emphasizes small variations in tonal colour, often applying just intonation, extended playing techniques and repeating musical patterns.
Sometimes they include electronic sounds, without leaving behind the core sound of guitar and trumpet as a point of departure.

The duo has existed since 2006, and since then explored many different musical approaches. 
A recuring theme of their exploration has been expansions of the duo instrumentarium, including 
electronics, multiple guitars and different electronic and acoustic keyboard instruments.

Pip released their first official release on the Portuguese label Creative Sources in 2016,
and they have toured in countries as Germany, Czech Republic, England and the Scandinavian countries.

The duo has also worked with artists from other disciplines. They collaborated with choreographer and contemporary dancer Marie Bergby Handeland on the piece Lyden av besluttsomhet, jeg tåler den ikke, which were premiered at the CODA festival in Oslo in 2013, and they have also worked together and performed with the Copenhagen-based live visuals duo of Freya Sif Hestnes and My Lambertsen, called Manuals.

Torstein and Fredrik also play together in the band Oker, with drummer Jan Martin Gismervik and bass player Adrian Fiskum Myhr, and in the quartet Volumes with Magda Mayas on prepared piano and Isak Hedtjärn on clarinet.

Release date: 27. September 2019

Pip: Possible Worlds (excerpt)

stating some obvious things about the Prison Industrial Complex, the Military Industrial Complex and the Pharmaceutical Industrial Complex

stating the obvious PIC MIC PHIC

RedKahina Interview #002

Excerpt taken from Clara de Asís -  Sans Nom Ni Forme
Pilgrim Talk 2020

Clara de Asís - De ce côté-ci (excerpt) [PT39]

Ascents is a composition / hypercomposition originally created during a residency program for the SAT - Society for Arts and Technology in Montréal in 2017/2018. Then named NAscent, it featured a film created for the work by visual artist Push 1 stop (Cadie Desbiens), and a 3-D audio mix realised in collaboration with Mourad Bennacer. The resulting immersive audio-visual work enjoyed a 3-week run in the Satosphère in February 2018, and was again shown during the iX Symposium at SAT in May 2018. In June of the same year it was also presented as part of the SAT's long films selection at Sonár+D, the 360º immersive part of the Sónar festival in Barcelona.

Ascents differs little from the original work, but 2 of the 9 sections of the original composition were slightly re-worked, incorporating additional layers that were not present originally, to reflect the intensity of the audio-visual impact. The stereo version does not try to mimic the 3-D audio mix, as that would simply be impossible to do, but rather focuses on the inherently immersive quality of the music, especially the hypercomposed parts, which can still be experienced when listened to on 2 channels. I recommend high quality speakers, or headphones, to get the maximum effect.

Vergil Sharkya' – composition & hypercomposition, synthesizer, effects, sound design
Recorded, edited, mixed and mastered by Vergil Sharkya' at VergilReality, Montréal

© by Vergil Sharkya', all rights reserved

Photo credit: Sébastien Roy; showing a frame of the film made for NAscent by Push 1 stop

About NAscent:
https://sat.qc.ca/catalogue/preview-en.php?id=147


Ascents est une composition / hypercomposition qui a vu le jour durant
une résidence de création à la SAT - Société des Arts Technologiques à
Montréal, en 2017-2018. D'abord nommée NAscent, la pièce a été présentée
dans sa première version avec un film de l'artiste visuelle Push 1 stop
(Cadie Desbiens) et un mixage audio 3D réalisé en collaboration avec
Mourad Bennacer. Le résultat de cette collaboration, une œuvre immersive
audiovisuelle, a été diffusée à la Satosphère durant trois semaines en
février 2018, et a été à nouveau programmée à l'occasion du Symposium iX
de la SAT en mai 2018. En juin de la même année, NAscent a fait partie
de la sélection de longs métrages de la SAT présentés à Sonár+D, le
programme immersif 360° du festival Sónar, à Barcelone.

Ascents est assez fidèle à l'œuvre originale, mais deux des neuf
sections de la composition originale ont été légèrement retravaillées,
incorporant des couches sonores additionnelles qui n'étaient pas
présentes à l'origine, afin de refléter l'intensité de l'impact de la
version audiovisuelle. La version stéréo n'a pas pour but d'imiter le
mixage audio 3D, ce qui serait simplement impossible à réaliser, mais
vise plutôt à mettre en valeur la qualité immersive inhérente à la
musique, spécialement dans les parties hypercomposées. Cet effet
d'immersion peut encore être clairement perçu lorsque l'œuvre est
écoutée en stéréo. Je recommande une écoute aux haut-parleurs de qualité élevée, ou au casque, pour obtenir des résultats optimaux.
(traduction par Julie Delisle)

Ascents

Chris and Molly read Infinite Jest, part 3. Pages 20-27: Ken Erdedy continues to anticipate his marijuana delivery. Discussion starts at 21:17.

Infinite Cast

Part 3

Chris and Molly read Infinite Jest, part 4. Pages 27-37: Hal has a conversation with a professional conversationalist, and we meet the medical attaché.  Discussion starts at 28:13.

Part 4

In a one-off departure from our usual format, Ian Hislop interviews James Alefantis - the Washington restaurateur whose pizza restaurant has been swept up in multiple conspiracy theories - first Pizzagate and now QAnon.

RedKahina Interview #002

Spencer Latu

Recent comments

brainy bombshell

Related tracks