October 27th, 1998: “VENGE ART: Fascicle #1” for narrator, musicians, actors, dancers, and culinary artists (Op. 39)by Gary Lloyd Noland. Art Maddox, narrator; Gary Lloyd Noland, piano, typewriter, and Nolander; Jackie T. Gabel, synthesized percussion;  Jeff Defty, cello;  Rene Salm, organ;  Laura Zaerr, harp; Peter Thomas, guitar; Dyer Snider, Native American Flute; Timothy Mason, television. Seventh Species Composers concert, United Lutheran Church, Eugene, Oregon.

VENGE ART: Fascicle #1, Op. 39 (1998)

June 13th, 1999: VENGE ART: Fascicle #1 for narrator, musicians, actors, dancers, and culinary artists (Op. 39). Art Maddox, narrator;  Robert Scofield (aka “Dr. Box”), urhu;  Timothy J. Mason, TV & vacuum cleaner; Gary Lloyd Noland, piano; Alan Phillips, banjo;  Peter Thomas, guitar and waterphone; Guy Tyler, double bass; Terry Wergeland, accordion, trumpet, and horn; Geoff Wooden, electric guitar.  Oregon Music Teachers Association (OMTA) state convention “Composer-of-the-Year” recital, Beall Hall, School of Music, University of Oregon. VENGE ART is a text of approximately 300,000 words with cues for musicians, actors, etc. that, although "completed" at one point, is still in need of edits and revisions, a project that would take many years to complete to the composer's satisfaction. For more information on composer Gary Lloyd Noland, please visit his website at: garynolandcomposer.com

VENGE ART Fascicle #1, Op. 39 (1998)

This week friend of the show, Vernon Cisney, joined us to discuss his approach to teaching Deleuze and Guattari against the backdrop of part 1 of their book, What is Philosophy?

Vernon is associate professor of interdisciplinary studies and Jewish studies at Gettysburg College. He teaches at the intersections of philosophy, religion, literature, cinema, the sciences, and political philosophy, in addition to being one of the primary advisors for students creating individual, interdisciplinary majors.

Vern's Links:
https://vernonwcisney.com/index.html

https://www.gettysburg.edu/academic-programs/interdisciplinary-studies/faculty/employee_detail.dot?empId=08006335820013349&pageTitle=Vernon+W.+Cisney

https://scholar.google.com/citations?user=Yzlu8rQAAAAJ&hl=en

Vern's first Appearance:
https://soundcloud.com/podcast-co-coopercherry/vernon-cisney-deleuze-derrida-difference

Support us on Patreon:

https://www.patreon.com/muhh

Twitter: @unconscioushh

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Vernon Cisney - Deleuze & Guattari's Pedagogy of the Concept

“The reason it’s so hard to write a cruise piece is because of David Foster Wallace,” explains Lauren Oyler, a critic and the author of the novel Fake Accounts. In her recent Harper’s Magazine cover story, she takes on Wallace’s 1997 cruise essay, also published in Harper’s, as she describes her experience aboard the Goop cruise. “But I didn’t want it to just be a work of criticism reckoning with David Foster Wallace’s reputation,” Oyler adds. So her essay goes beyond reputation to discuss “male feminists,” class dynamics on cruise ships, and the tired nature of materialist critiques of wellness in order to—as she puts it in her essay—“unite irony and sincerity once and for all.” 

Oyler’s essay: https://harpers.org/archive/2023/05/goop-cruise-gwyneth-paltrow-goop-at-sea/
Wallace’s essay: https://harpers.org/archive/1996/01/shipping-out/

Subscribe to Harper’s for only $16.97: harpers.org/save

● [3:16] Some problems Oyler takes with David Foster Wallace

● [10:08] How the public understanding of David Foster Wallace reflects on the popular understanding of the essay as well as contemporary women’s literature

● [15:41] “The male feminist” and women’s writing in relation to David Foster Wallace

● [24:05] The confusing economic class of people who goes on cruises

● [31:51] On the tired nature of materialist critique of wellness (Goop) 

● [46:40] Oyler’s unification of irony and sincerity

● [55:35] “Didn’t anything good happen to you on this cruise?”

On David Foster Wallace

The day has finally come to give DFW the treatment he deserves, and Stephen couldn’t be happier. We’ve brought on Liv as backup to explore the heavily foot- and endnoted fiction and non-fiction projects of David Foster Wallace. We discuss the importance of paying attention, the danger of entertainment, the struggle to escape postmodern cynicism, if the only way out is through, and finally what metamodernism may have to offer. Have a listen!
 
Articles:
-“This is Water” by David Foster Wallace (https://www.youtube.com/watch?v=DCbGM4mqEVw)
-“A Supposedly Fun Thing I'll Never Do Again” by David Foster Wallace
-“The View from Mrs. Thompson's” by David Foster Wallace
-“ An Interview With David Foster Wallace” by Larry McCaffery
-“Philosophizing With Lightning?: a Review Of 'Metamodernism: The Future Of Theory'” by By Peter Fousek (https://www.hamptonthink.org/read/philosophizing-with-lightning-a-review-of-metamodernism-the-future-of-theory?)

417 The Problem with…“David Foster Wallace” ft. Liv

Good Old Neon is one of my favourite short stories and so i thought i would do a reading of it.

Good Old Neon - David Foster Wallace (Full Reading)

classic DFW speech to college graduates ::: 

This is Water (part 1) - David Foster Wallace

David Foster Wallace's speech "THIS IS WATER" was taken from Maria Popova's Brianpicking SoundCloud files. 

This is Water (part 2) -David Foster Wallace

un extrait du §1 du ‘Roi pâle’ (2005) roman ‘tornadique’ et inachevé de David Foster Wallace – juste avant d’entrer avec lui pour 700 pages au centre des impôts de Peoria - un extrait d'un album en cours -  en écoute sur Bandcamp : https://lesfernandez.bandcamp.com/track/d-nicher-les-vers-dfw-2

dénicher les vers (David Foster Wallace) (clip)

A book appreciation club hosted by one catholic, one anglican, and one orthodox nerd. We talk about book chapters, special topics, and what we're drinking. 

Currently: 
-James Scott's Seeing Like a State (502-present)

Previously:
-Jacques Ellul's Propaganda: The Formation of Men's Attitudes (421-427, 429)
-Carl Trueman's Rise and Triumph of the Modern Self (407-410, 412-413, 415-416)
-Neil Postman's Amusing Ourselves to Death (402 and 405)
-Richard Weaver's Ideas Have Consequences (314-318) 
-Iain McGilchrist's The Master and His Emissary (213-310)
-Alasdair MacIntyre's After Virtue (101-114,116-119)

You can find this podcast on most podcast applications, Itunes, Spotify, and Soundcloud.

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

sauf mention contraire tous les textes sont de Corinne Lovera Vitali - toutes les musiques sont de Fernand Fernandez

Since 1850, Harper’s Magazine has provided its readers with a unique perspective on the issues that drive our national conversation, featuring writing from some of the most promising to most distinguished names in literature—from Barbara Ehrenreich to Rachel Kushner. Listen as Harper’s editors and contributing writers take a deep dive into these topics and the craft of long-form narrative journalism.

Subscribe to the magazine for only $16.97 per year: harpers.org/save

New tracks tagged #david foster wallace