Radio ArtEZ

In full bloom – a conversation between Angela Jerardi and Giulia Bellinetti in the gardens of Jan van Eyck Academy What does it mean to make a garden a site for ecological practice, pedagogy and labor within the context of an art institution? What experiences, aesthetics and frictions emerge through gardening? This episode takes us to the gardens of the artist residency of the Jan van Eyck Academy in Maastricht, where our guest, teacher, researcher, and writer Angela Jerardi is invited to be in conversation with the head of the Nature Research department and coordinator of Future Materials of the Jan van Eyck Academy, and PhD researcher at ASCA, Giulia Bellinetti. In a courtyard where branches overgrow steel structures, and ivy foliage softens their voices, and dampens their footsteps, Angela and Giulia speak on how they have moved their teaching, research and writing into gardens and land practices. Walking between pumpkins, bamboo, and compost, they reflect on the questions, labor and hardships that have maintained their care work. How is seasonal time or lived time affected by the demands of institutional time? How can we attune ourselves to the pace and divergence of lived time of species? Speaking on strategies that art institutions employ to bring forth topics of ecology, land and climate, they reflect on how concepts and verbs can become increasingly metaphorical and rhetorical in art discourses. Walking in fall leading into winter, they move towards the edges of the garden where transformative questions have taken root, for you to anticipate their full bloom. This episode is in two parts. In the first part, departing from the soil, Angela and Giulia unpack how a garden affects and takes shape in each of their practices, and what this means in the context of an art institution. After the break, their conversation leads them into the glass house of the garden where their conversation spans strategies that artists, communities and art institutions employ, and the relationships that emerge through them. Part One (00:00 – 37:10) and Part Two (37:55 – 1:31:00). Take a breath and tune into the warm autumn breeze and whispering leaves on their walk in these gardens.

How do artists engage living bodies as creative material? How do they engage our ideas and assumptions of what we consider a body to be and what a body can do? How do they challenge the principles of what life is and the relations we take for granted? For this podcast, we invited philosopher, researcher and labour organizer Mijke van der Drift to engage with Agnieszka Anna Wołodźko, lecturer and researcher teaching contemporary philosophy and art-science at AKI Academy of Art and Design ArtEZ. Thinking through the lens of contamination, Agnieszka’s recently published book Affect as Contamination: Embodiment in Bioart and Biotechnology uses bioart projects as provocative case studies to rethink affect and bodily practices. Departing from her book, they reflect upon the desire for transformation and the need for its control in our daily infrastructures, ranging from biotechnology and pharmaceutical industries to food production and healthcare. What ethical frameworks are needed to organize and guide our actions when confronted with hard questions and uncomfortable situations that come up when engaging living matter as a creative material? How do we recognize what needs to change and for whom? Can ethics and art prompt us to become more joyful and accountable to transformative processes of justice? We invite you to listen to this conversation and reflect upon the risks involved when artists experiment with bodies and living matter, and to think through which ‘anchors’ can orient us through the transformation that life inevitably begets. Show notes - Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood. - The Center For Genomic Gastronomy, Smog Tasting: Smog Synthesizer https://genomicgastronomy.com/work/2015-2/smog-synthesizer/ - Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/ - Be-wildering by Jennifer Willet & Kira O’Reilly, 2017, performance https://waag.org/en/event/performance-be-wildering-jennifer-willet-kira-oreilly/ - - Book Deleuze & Guattari, A Thousand Plateaus: Capitalism and Shizophrenia 1980 - Bio artist Boo Chapple invited by Prof. Rob Zwijnenberg’s honours class Who owns Life? at Leiden University - Baruch Spinoza, Ethics https://plato.stanford.edu/entries/spinoza/#Ethi - Špela Petrič, Confronting Vegetal Otherness: Skotopoiesis – semiotic triangle, 2015 https://www.spelapetric.org/scotopoiesis - Sandilands, Catriona (2017), ‘Vegetate’, in J. J. Cohen and L. Duckert (eds), Veer Ecology: A Companion for Environmental Thinking, Minneapolis: University of Minnesota Press, pp. 16–29. https://www.academia.edu/50082847/Vegetate - Marion Laval-Jeantet and Benoît Mangin, May the Horse live in me! https://dublin.sciencegallery.com/blood-1/may-the-horse-live-in-me-#:~:text=The%20performance%20May%20the%20Horse,an%20injection%20of%20horse%27s%20blood. - Donna Haraway, Response-ability in her book Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press Books, 2016. See lecture: https://www.youtube.com/watch?v=GrYA7sMQaBQ - Gilles Deleuze and Félix Guattari, What Is Philosophy? Translated by Graham Burchell and Hugh Tomlinson. London etc: Verso, 1994. See: https://plato.stanford.edu/entries/deleuze/#WhatPhil - Jacques Ellul: Stanford Encyclopedia of Philosophy. https://plato.stanford.edu/entries/technology/ - Michel Serres, Birth of Physics, clinamen press 2000 - The Center For Genomic Gastronomy https://genomicgastronomy.com/work/2009-2/community-meat-lab/ - Adriana Knouf, Xenological Entanglements. 001a: Trying Plastic Variations https://tranxxenolab.net/projects/eromatase/ - Rossi Braidotti : https://rosibraidotti.com/ - Lem, Stanisław (2012), Przekładaniec...

How do we work with research within our educational programs? Which methods do we need and use? And what does this mean for BA and MA students? In the podcast series Research in Art Education, Fabiola Camuti interviews students, researchers, teachers, and managers working in university of the arts to discuss the importance, challenges, and possibilities of conducting research within arts academies. The KUO (national art education sector) Strategic Plan 2021-2025 identifies ‘research’ as one of the three key areas art universities should focus on in the coming years. Research is essential not only to the arts and professional art education, but also to our relationship with the world and society. Research already takes on an important role within universities of the arts, however, practices and ideas on the role, methods, ways of conducting research and its embedment within each and every institution, still leave space for further development, investigation, and actions to be taken. For this reason, starting 2022, a national ‘Research in Education working group’ works together to strengthen the knowledge ecosystem and the research culture within our academies. This podcast series is connected to the events organized by the working group around the question: how can we make research sustainable in our academies? The podcast is sponsored by the Vereniging Hogescholen and hosted by Radio ArtEZ for Studium Generale. The second episode of the series, titled, The Circle of Doing Research: a tool for art students, addresses the possibilities and mechanisms of this model, created by teachers-researchers of the Research Station of the Willem de Kooning Academy (WdKA), with and for the educational departments. Joining the conversation are the developers of the circle, Miriam Rasch, philosopher, writer, and coordinator of the Research Station at the WdKA, Jojanneke Gijsen, researcher, art historian, and art educational developer, and Harma Staal, graphic designer and educational developer. The Circle of Doing Research Links: https://www.linkedin.com/in/harmastaal https://www.wdka.nl/stories/zoom-in-fifteen-film-portraits-of-graduates-2020-2021 https://www.wdka.nl/research/the-circle-of-doing-research#:~:text=With%20these%20questions%20the%20Willem,and%20to%20reflect%20on%20research. https://www.miriamrasch.nl/

In 2022 onderzochten Tanja Koning en Annemarie van den Berg de vraag hoe ruimte in het onderwijs van Art&Design Arnhem gemaakt kan worden voor collectief maken. In deze podcast vertellen ze over wat ze geleerd hebben en waar zij kansen zien voor ArtEZ om collectiviteit aan te jagen. Daarnaast vertellen de leden van het studentencollectief WIJ² hoe zij in hun examenjaar bij DBKV als collectief zijn opgetrokken. Een muurschildering van 16 bij 6 meter, een wekelijkse ontdekkingstocht langs de Rijn, het formeren van een tijdelijk collectief, het herontdekken van een gebouw en het radicaal gelijkwaardig samenzijn als startpunt van kunstonderwijs: onder de noemer Collective Making vonden, ondersteund door de ArtEZ Kwaliteitsafspraken, tussen januari 2022 en januari 2023 vijf onderwijsprogramma’s plaats bij ArtEZ Art&Design in Arnhem. Samen met studenten, docenten en kunstenaarscollectieven werd er binnen deze onderwijsprogramma’s ruimte gemaakt om collectief maken in de praktijk te brengen, te onderzoeken en te ontdekken. Als vervolg op dit onderzoek werd samen met online kunstmagazine Mister Motley en interviewer Luuk Heezen de podcast ‘Kunst is Collectief’ opgenomen waarin 10 collectieven vertellen hoe hun samenwerking er van binnen en van buiten uitziet. Waarom werken ze samen? Noemen ze zichzelf wel een collectief? Hoe verhouden de afzonderlijke leden zich tot het geheel? Hoe neem je gezamenlijk beslissingen? Kun je eigenaarschap delen? Tanja Koning is alumnus van DBKV Arnhem. Ze werkt als freelance curator en onderzoeker in kunst, wetenschap en wetenschap en technologie. Annemarie van den Berg is alumnus van de KABK (GD) en Piet Zwart Instituut. Ze is onderdeel van Collectief Pink Pony Express en afstudeer/procesbegeleider aan St. Joost School of Art & Design. WIJ² bestaat uit Bert, Mika, Irene & Nino, alle vier studeerden zij afgelopen zomer (2023) individueel en als collectief af bij DBKV Arnhem. Als collectief onderzochten zij wat het betekent om -binnen de muren van ArtEZ- een collectief te formeren en samen werk te maken.

Art at War is een serie over… oorlog en kunst. Elke aflevering onderzoekt schrijver en ArtEZ alumna Lisa Weesaat kunst kan doen in tijden van conflict, samen met een speciale gast. In deze aflevering is die gast Mina Etemad. Mina Etemad is journalist en podcastmaker en houdt zich bezig met thema’s als migratie en dierenrechten, en verdiept zich graag in allerlei vormen van kunst en cultuur. Momenteel is ze presentator van de podcast DOCS, schrijft ze voor diverse media en maakt radiodocumentaires en podcasts. In het verleden werkte ze als redacteur bij de VPRO-programma’s Nooit Meer Slapen en Mondo. In 2021 deed ze mee aan de Oorzaken Podcast Academy, organiseerde ze samen met anderen het Podcastfestival en verscheen haar radiodocumentaire Volwassenen lachen niet bij de podcast DOCS. Daarin onderzoekt Mina de vraag of ze de dag waarop ze naar Nederland kwam moet vieren of herdenken. Audiodocumentaaire Volwassenen lachen niet. https://www.2doc.nl/docs/2021/38-Volwassenen-lachen-niet.html Violg Mina op instagram voor updates over de situatie in Iran en al haar andere werk: https://www.instagram.com/mina.etemad87/ Mina’s website: https://minaetemad.nl

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Bakr Al Jaber. Bakr Al Jaber is a Syrian poet, currently residing in The Hague. His work explores the relationship between universal beauty, war and the duality of existence. He has a published project let’s talk loudly and laugh a lot in collaboration with Dutch photographer Hillie de Rooij, he was shortlisted for the El Hizjra literatuurprijs 2020. Right now he is working on new poetry. Check out the projects by Bakr Al Jaber: https://bakraljaber.com/Projects Follow him on instagram https://www.instagram.com/bakraljaber/ The book Bakr made with Hillie de Rooij is sold out, sadly

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Mariia Ponomarova. Mariia Ponomarova is a Ukrainian film director, producer and artistic researcher based in Amsterdam, the Netherlands. Mariia studied film directing and screenwriting at Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television. She graduated with a master’s degree in the Film Artistic Research program of the Netherlands Film Academy. Her short films were screened during international and national film festivals Go Short ISFF, Sarajevo Film Festival, Vancouver IFF, Molodist IFF, ArtDocFest, Netherlands Film Festival, CineDOC-Tbilisi, VIS Vienna Shorts, Regensburg Short Film Week and many more. She currently works on the documentary Nice Ladies. Follow Mariia Ponomarova on instagram: https://www.instagram.com/ponomarova/ See if you can find the film Fragile Memory, for which Mariia wrote the screenplay. Check out the teaser: https://youtu.be/jYDt97CqG5Q

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Anastasia Taylor-Lind. Anastasia Taylor-Lind is an English/Swedish photojournalist who works for leading editorial publications all over the world on issues relating to women, population and war. She is a 2016 Harvard Nieman Fellow, a TED fellow and a 2017 non-fiction Logan Fellow at The Carey Institute for Global Good. Her first book MAIDAN – Portraits from the Black Square, which documents the 2014 Ukrainian uprising in Kiev, was published by GOST books the same year. Anastasia’s work has been exhibited internationally, in spaces such as The Saatchi Gallery, The Frontline Club, and The National Portrait Gallery in London. She also writes poetry. Check out Anastasia’s website to get a grasp of her work and portfolio: http://www.anastasiataylorlind.com Read a poem by her hand: https://www.theguardian.com/books/booksblog/2022/apr/25/poem-of-the-week-welcome-to-donetsk-by-anastasia-taylor-lind or look for her first poetry collection ‘One Language’. And follow her on instagram: https://www.instagram.com/anastasiatl/

Myrthe Oomen, student ArtEZ Creative Writing, schreef het essay 'Mijn lichaam en de elektriciteitsmast'. Het essay leest als een collage van fragmenten over de (on)mogelijkheid om je onderdeel te voelen van een landschap. De taal van schrijvers als Annie Ernaux, George Perec en C.O. Jellema helpen haar kwijtgeraakte woorden terug te vinden. Het essay is na te lezen op de website van Studium Generale: https://studiumgenerale.artez.nl/nl/studies/all/essay/mijn+lichaam+en+de+elektriciteitsmast/ Daar vind je ook een kort interview met Oomen: https://studiumgenerale.artez.nl/nl/studies/all/interview/myrthe+oomen+interview/ Poëzie Vandaag van Ellen Deckwitz is te vinden in de meeste podcastapps: https://podtail.nl/podcast/poezie-vandaag/

In Research in Art Education, artist-researcher Fabiola Camuti interviews students, researchers, and managers working in university of the arts to discuss the importance, challenges, and possibilities of conducting research within arts academies. The KUO (national art education sector) Strategic Plan 2021-2025 identifies ‘research’ as one of the three key areas art universities should focus on in the coming years. Research is essential not only to the arts and professional art education, but also to our relationship with the world and society. Research already takes on an important role within universities of the arts, however, practices and ideas on the role, methods, ways of conducting research and its embedment within each and every institution, still leave space for further development, investigation, and actions to be taken. For this reason, starting 2022, a national ‘Research working group’ will work together to strengthen the knowledge ecosystem and the research culture within our academies. This podcast series is connected to the events organized by the working group around the question: how can we make research sustainable in our academies? The podcast is sponsored by the Vereniging Hogescholen and hosted by Radio ArtEZ for Studium Generale. Shownotes: In episode 1, Sharing Best Practices, Fabiola Camuti has interviewed the following guests: Lulu Linders, 3rd year student audiovisual design at the WdKA, she has a BA from the University of Amsterdam in Future Planet Studies and is working towards becoming a documentary director. Els Cornelis is a relational artist and teacher at HKU. In addition, she initiated and started a collective research project with the name Pluriversity of the Arts. Dorothea van der Meulen, Dean Minerva Academy Groningen and member of the KUO national research working group. Best practices discussed during the episodes: ArtEZ Univeristy of the Arts: Next Generation: the two-days No University festival for research, experiments, and arts for the education of the future, presented by Arjen HosperWillem de Kooning Academy: The Circle and Crash Course of Doing Research – creating an equal footing in research skills for all first-year students, presented by Jojanneke Gijsen and Harma StaalMinerva Art Academy: From a question of the working field to an educational pilot: A practice-based research in Arts & Health, presented by Asa Scholma and Jedidja Smalbil Other best practices that were mentioned: HKU: How can research be sustainably connected to art education? The case of the Expanding Narratives project, presented by Jorrit Thijn and Nirav Christophe 2. Fontys School of Fine & Performing Arts: The project ‘Sociaal Artistiek Theater’: the work of the teacher researcher, presented by Lieke van Hoogenhuijze and Erica Smits Codarts University of the Arts: The Research Festival: an annual event for research in education, presented by Erik Zwiep Links: https://research.hanze.nl/en/publications/we-people-in-transition-ik-zie-ik-zie-wat-jij-niet-ziet https://www.artez.nl/en/agenda/2022-09-23-next-generation-no-university-manifestation-2022-research https://research.wdka.nl/index.php/publications/circle-of-doing-research/

In the three-part podcast series Listening to the In-Between we highlight different aspects of Pauline Oliveros's Deep Listening® practice. We do so by providing backgrounds, practical listening exercises, and by exploring theoretical notions connected to Deep Listening. In part I researcher and music journalist Joep Christenhusz explored Deep Listening, together with Ed McKeon and Ximena Alarcón, who are well-experienced deep listeners. Alarcón described the INTIMAL App© that she has developed over the last years. In the second episode, Deep Listener Sharon Stewart invited us to participate in embodied rituals of attention, a practice of listening to or sensing aspects of power and powerlessness in the world that surrounds us. This reconnected her to the ground-breaking work of Audre Lorde, “Uses of the Erotic: The Erotic as Power”. In this third and final instalment, 'Thinking with our Ears', Joep Christenhusz returns to Ed McKeon and Ximena Alarcón, featuring Sharon Stewart as well. They consider Oliveros's Deep Listening practice from several theoretical perspectives, thereby taking into account that theory and practice are always closely intertwined in Oliveros’s work. Starting from the Extreme Slow Walk, an exercise in sonic awareness, they navigate a fluid in-between space, where conventional binaries like theory-practice, self-other, active-passive and subject-environment start to dissolve. This outward and inward journey results in embodied knowledge about, among other things, the nature of attention and concentration, our relation to our environment and our experience of self. The second part of this episode consists of a conversation with Ximena Alarcón on the notions of the in-between, sonic migrations, and the migratory experience, and reflections on the role of language in the presence and experience of self. Show Notes In the podcast you hear the following audio fragments: Pauline Oliveros, Stuart Dempster, Panaiotis, Album Deep Listening, track 1, ‘Lear’, reproduced by permission of PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt). All Rights Reserved. Members ASCAP References Meditation number 5, ‘Native’, from: Pauline Oliveros (1971). Sonic Meditations. PoP and MoM Publications (Pauline Oliveros Publications & Ministry of Maåt). Commentary Oliveros on the Extreme Slow Walk, from: Pauline Oliveros (1971), Sonic Meditations. PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt). Francois Bonnet (2016). The Order of Sounds, A Sonorous Archipelago, Urbanomic. Pauline Oliveros (2005), Deep Listening, a Composer's Sound Practice, iUniverse Pauline Oliveros (1984/2015). Software for People, Smith Publications/CreateSpace Ximena Alarcón (2014). Networked Migrations: Listening to and Performing the In-Between Space. (99+) Networked Migrations: listening to and performing the in-between space | ximena alarcon - Academia.edu Marianna Ortega (2008). Multiplicity, Inbetweeness, and the Question of Assimilation Multiplicity, Inbetweeness, and the Question of Assimilation (researchgate.net) Gloria E. Anzaldúa (1987). Borderlands/La Frontera: The New Mestiza, Previous episodes and related materials Listening to the In-Between Part 1: Introducing Pauline Oliveros and Deep Listening (artez.nl) Listening to the In-Between Part 2: Sensing Traces of Power(lessness) (artez.nl) Ed McKeon,“Moving Through Time,” published on APRIA in September. 5 Oct. 2022, ArtEZ Zwolle, Sophiagebouw and Conservatory: Extreme Slow Walk – Listening to the In-Between.

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. In this final episode, we get into that last question. Dennis talks to his (distant) colleagues Jesse Ball, John Vigna and Lorena Briedis on what it is we teach when we teach art. A transcript for this episode is available at https://studiumgenerale.artez.nl/ If you want to get in touch about hosting or contributing to a workshop based around this series, visit https://www.ondercast.com/teachingart Notes: Jesse Ball can (sometimes, though not at the time of publishing this episode) be found here: http://www.jesseball.com/ He teaches at the School of the Art Institute in Chicago: https://www.saic.edu/profiles/faculty/jesse-ball His Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap. Lorena Briedis teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/ John Vigna can be found here: https://www.johnvignaink.ca/ He teaches at the University of British Columbia: https://creativewriting.ubc.ca/ The European Association of Creative Writing Programmes can be found at https://eacwp.org/

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. In this second episode, he explores who should be teaching art, what kind of stance is necessary. He does so in conversation with writers and teachers Jesse Ball, Lorena Briedis and John Vigna. A transcript for this episode is available at https://studiumgenerale.artez.nl/ Notes: Jesse Ball can (sometimes, though not at the time of publishing this episode) be found here: http://www.jesseball.com/ He teaches at the School of the Art Institute in Chicago: https://www.saic.edu/profiles/faculty/jesse-ball His Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap. Lorena Briedis teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/ John Vigna can be found here: https://www.johnvignaink.ca/ He teaches at the University of British Columbia: https://creativewriting.ubc.ca/ The European Association of Creative Writing Programmes can be found at https://eacwp.org/

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. In this first episode, he first looks into some legendary art schools with art historian Joanne Dijkman. In the second part, he discusses the classroom and how we should approach it with writers and teachers Lorena Briedis and Jesse Ball. A transcript for this episode is available at https://studiumgenerale.artez.nl/ Notes: You can read more about Joanne Dijmkman’s PHD research here: https://www.artez.nl/en/research/professorship/art-education-as-critical-tactics/research-group/joanne-dijkman. Information on the Black Mountain College exhibition at the Hamburger Banhof can be found here: https://www.smb.museum/en/exhibitions/detail/black-mountain-an-interdisciplinary-experiment-1933-1957/. The accompanying book was published by Spector: https://spectorbooks.com/black-mountain-en. The European Association of Creative Writing Programmes can be found at https://eacwp.org/ Jesse Ball’s Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap. Lorena’s Class Proposals, which you wlll find below, are heavily influenced by Jenny Tunedal, who teaches at the Valand Academy in Sweden. She herself was influenced by by an art project called Radikal Pedagogik by Lisa Nyberg and Johanna Gustafsson. Lorena learned about the proposals through this session at the EACWP: https://eacwp.org/activities/course-belgium-2019/. Lorena teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/ Here are her class proposals: • We are here because we want to write. • We are here to play, to experiment, to rave, to wish for the impossible. • We are also here to learn to read (us) in a critical way. We write as we read. • We have set aside this time, each week, for our writing and for sharing our writing with each other. • We are here because we have committed ourselves to be here. • We are here to be the best writer each of us can be. • We do not compete or compare ourselves with others. • We recognize that writing is a craft that requires time and dedication, and we are willing to make our best. • Writing every week and commenting on our classmates' texts is our way of giving. • Listening to our classmates with attention and gratitude is our way of receiving. • Giving and receiving require the same degree of courage, commitment and generosity. • We take this space seriously and we take each other seriously, but we also know how to laugh, joke, play, have fun: how to enjoy. • We are partners in the Dionysian faith. • We interpret what the other tells us with benevolence. • We are receptive and listen attentively. • We recognize that this workshop is a dialogue with the present (our own texts and our circumstances) and with eternity (the literary tradition). • We are personal and private when we need to be. • We are strong and vulnerable at the same time. • Everything that we share here and entrust to each other has a mystical character (ie, secret). • We all contribute to creating a space of mutual trust and solidarity. • We all have experiences that together we can transform into knowledge in the classroom. • There are no better or worse texts: there are texts more or less crafted. • The texts we write, every week, are not finished pieces. They are sketches, experiments, drafts: work in progress. • We are generous with each other. • We read in favor of our texts and not against them. • We write and read like miners, that is, in the direction of gold, of poetry: that is, in the direction of the sacred that is in the wound of each text. • In the texts we do not seek justice (we do not judge), we seek poetry (the infinite understanding). • We are free to write what we want to write and to be whoever we...

In the three-part podcast series Listening to the In-Between we will put the rich practice of Deep Listening® into a broader context. In our second episode, Deep Listener Sharon Stewart invites us to participate in embodied rituals of attention, a practice of listening to or sensing aspects of power and powerlessness in the world that surrounds us. This reconnected her to the ground-breaking work of Audre Lorde, “Uses of the Erotic: The Erotic as Power”. In 2021 we made the podcast-series Sounding Places / Listening Places, which is still available at Radio ArtEZ. In it we explored how sound and listening can contribute to realizing more sustainable and reciprocal relations with the earth. Back then, we already dipped our toes in the world of Deep Listening®. In the three-part podcast series Listening to the In-Between we will put this rich practice into a broader context. In Part I, researcher and music journalist Joep Christenhusz explores Deep Listening, its connection to space and time, and the interrelations between the outer and the inner world the practice reveals through sonic awareness. In this second episode, Deep Listener Sharon Stewart further connects the idea of an embodied practice with the theme of power and powerlessness by working with others through the creation of text scores, also conceptualized as rituals of attention, that offer a way of listening to or sensing aspects of power and powerlessness in an embodied way. After an open call, Laurens Krüger (student DBKV ArtEZ Zwolle) and Martine van Lubeek (graduate of BEAR ArtEZ Arnhem) participated in this process. Laurens presents her “Triangle Dance with force fields” and Martine her “Score for Thinking-Feeling with the Earth”, a score to bring us into relation with the more-than-human elements all around us. In the final third of the podcast (from 32min on), Sharon Stewart talks about how Audre Lorde’s work inspired her in creating a text score from the perspective of our theme: the Body and Power(lessness) and presents the score “Listening through connection and difference”. In the third and last part of our podcast series we will dive deeper into theoretical concepts related to Deep Listening. Show Notes In the podcast you hear the following audio fragments: Deep ListeningAudre Lorde reads Uses of the Erotic: The Erotic As Power (FULL Updated)Sister Outsider Reading and Listening From Martine: Returning the Gift, 2021Humans and Nature.Minding Nature, Vol. 7, No. 2 Pathways to Planetary Health Forum: David Abram on the More-than-Human WorldGarrison InstituteMore-than-human cultural geographies towards co-dwelling on earth.YES! MagazineNature Needs a New Pronoun: To Stop the Age of Extinction, Let’s Start by Ditching ‘It’.Thinking-feeling with the Earth: Territorial Struggles and the Ontological Dimension of the Epistemologies of the South. From Laurens: Art After Modernism: Rethinking Representation From Sharon: Extreme Slow Walk – Listening to the In-BetweenMoving Through TimeAnthology of Text Scores by Pauline OliverosThe Center for Deep Listening at RensselaerThe Master’s Tools Will Never Dismantle the Master’s House Most of these essays were first given as papers at conferences across the US between 1978 and 1982 Audre Lorde - To be young, lesbian and Black in the '50sZami: A new spelling of my nameCredit To : Pacifica Radio Archives Date Recorded: at Hunter College in New York, 1982. Date Broadcast: KPFK, 28 Nov. 1982. Audre Lorde's 87th birthdayGoogle Doodles ArchiveBehind the Doodle: Audre Lorde's 87th BirthdayAudre Lorde – Poetry Foundation Audre Lorde, "Power" from The Collected Poems of Audre Lorde. Copyright © 1978 by Audre Lorde. Source: The Collected Poems of Audre Lorde (W. W. Norton and Company Inc., 1997) PoetryPowerWhat Poetry Can Teach Us About PowerMatthew Zapruder

In 2021 we made the podcast-series Sounding Places, Listening Places, which is still available at Radio ArtEZ. In it we explored how sound and listening can contribute to realizing more sustainable and reciprocal relations with the earth. Back then, we already dipped our toes in the world of Deep Listening®. In the three-part podcast series Listening to the In-Between we will put this rich practice into a broader context. In Part I researcher and music journalist Joep Christenhusz explores Deep Listening, its connection to space and time, and the interrelations between the outer and the inner world the practice reveals through sonic awareness. He enters into conversations with Ed McKeon and Ximena Alarcón, who are well-experienced deep listeners. Alarcón describes the INTIMAL App© that she has developed over the last years. The podcast forms a good introduction to the event around Pauline Oliveros’s Deep Listening practice on Wednesday October 5, hosted by ArtEZ Studium Generale in collaboration with Corpo-real, the master Interior Architecture at ArtEZ. In our second episode, that will appear later this year, Deep Listener Sharon Stewart will guide you through practical Deep Listening exercises and open up the possibility for creating our own listening scores. In the third and last part we will dive deeper into theoretical concepts related to Deep Listening. Show Notes In the podcast you hear the following audio fragments: Pauline Oliveros, Stuart Dempster, Panaiotis, Album Deep Listening, track 1, ‘Lear’. Reproduced by permission of PoP and MoM Publications (Pauline Oliveros Publications & Ministry of Maåt) All Rights Reserved. Members ASCAP. Early Improvisations with Pauline Oliveros, Loren Rush, Terry Riley, and Others, 1957. Internet Archive. Link: https://archive.org/details/C_1957_XX_XX/4_P07256-ORR-improv4.aiff Recording Avatar Orchestra Metaverse, Bjorn Eriksson. Link: https://youtu.be/clRiT8_7zWg Instructions for the Extreme Slow Walk come from Pauline Oliveros, Deep Listening: A Composer’s Sound Practice, Lincoln: NE (Deep Listening Publications / iUniverse, 2005), 20. Reproduced by permission of PoP and MoM Publications (Pauline Oliveros Publications & Ministry of Maåt). All Rights Reserved. Members ASCAP. Dreaming while awake: a network of presence is a piece developed using the INTIMAL App© with the participation of eight walkers/improvisers/dreamers who joined Ximena Alarcón on April 10 and 11 2022 to listen for place and presence. This was part of the three concerts curated by Sarah Weaver at the Earth Day Art Model Telematic Festival, April 22. Reading and Listening PhD-thesis Ed McKeon: http://www.open-access.bcu.ac.uk/13406/1/Ed%20McKeon%20PhD%20Thesis%20published_Final%20version_Submitted%20Jul%202021_Final%20Award%20Nov%202021.pdf Backgrounds Avatar Orchestra Metaverse: http://avatarorchestra.org/ Links Links Cage's 4'33”: Cage against the machinehttps://youtu.be/YMh_0KizEM8https://www.youtube.com/watch?v=Je30JCQNtIwhttps://johncage.org/https://johncage.org/4_33.html Ximena Alarcon, site: https://www.ximenaalarcon.net/ INTIMAL Project: https://www.ximenaalarcon.net/intimal-project

On the coldest day of 2021, musician and writer Samira Dainan went to Poppodium Duycker in Hoofddorp to meet with Ousmane Ag Mossa, the bandleader of Tamikrest. Named the new legend of Tuareg music, Ousmane speaks on what it means to write music in the solitude of the Sahara desert. In this podcast, he speaks on the power and the meaning of his music, and how each song breaths a whole life-world and history. Founded in 2006, in Kidal in Mali, Tamikrest call themselves ‘the children of Ibrahim’, after Ibrahim Ag al Habib, the founder of the leading Tuareg band Tinariwen. In spite of ongoing riots and regional conflicts, which have a gripping force on their lives since the independence of Mali, Tamikrest seeks to make music reflecting their Tamasheq poetry and culture: “A desert hosts us, a language unites us, a culture binds us.” About Samira Dainan: After finishing her degree in Law, Samira’s love for music evoked a long-term research into her Arabic, Berber and African heritage. This brought her to Morocco and the Sahara, where she played and collaborated with local musicians¬, ranging from Amazigh, Trans Sahara to North African folk. Because of its powerful sound, message and healing rhythm, countless alternative bands in Morocco and North Africa such as Tuareg bands Tinariwen and Bombino are emerging in the music scene. Yet, in the Netherlands this genre of music is still in the margins. In this talk, Samira will discuss why she wants to create a stage for North African music together with her collaborator and band-member Bas Gaakeer. Check out their music and upcoming shows: https://showcase.fm/Samirasblues The selection of music that was featured in this episode has been carefully curated by Samira Dainan. You can listen to her selection at these links: Tinariwen (+IO:I) - Ténéré Tàqqàl (what has become of the Ténéré): https://www.youtube.com/watch?v=boiiiVh52v4&ab_channel=Tinariwen Samira's Blues - Tribute to Tamikrest // Fassous Tarhanet https://www.youtube.com/watch?v=HFRh4e7hp9I&ab_channel=Samira%27sBlues Tamikrest - Tapsakin - Rad Fyah Studio (on the road) Live Session https://www.youtube.com/watch?v=DL687y5FzCc&list=RDDL687y5FzCc&start_radio=1&ab_channel=RadFyah Tamikrest - Imanin bas zihoun https://www.youtube.com/watch?v=APSCPAAs6LQ&ab_channel=GlitterbeatTV Tamikrest - Amidinin Tad Adouniya https://www.youtube.com/watch?v=yNj5M-ckJO0 Tamikrest - As Sastnan Hidjan https://www.youtube.com/watch?v=TeNOYg7IMEM&ab_channel=GlitterbeatTV Tamikrest - As Sastnan Hidjan https://www.youtube.com/watch?v=TeNOYg7IMEM&ab_channel=GlitterbeatTV With special thanks to Ousmane Ag Mossa for the interview. Tamikrest is currently touring across 12 countries and has 3 upcoming concerts in The Netherlands: 26th May 2022, Luxor - Arnhem 27th May 2022, Podium De Vorstin - Hilversum 29th May 2022, De Effenaar - Eindhoven More info: www.tamikrest.net

Trigger warning: in deze aflevering wordt er gesproken over zelfdoding. Als dat iets is waar je liever niet naar luistert skip dan naar 15 minuut 50 of sla de aflevering in zijn geheel over. Als je zelf met suïcidale gedachten worstelt en er met iemand over wil praten: de zelfmoordpreventie-hulplijn 113 kun je altijd én anoniem bellen. Voor meer informatie kijk op https://www.113.nl/. Dagmar Bosma schreef voor Studium Generale ArtEZ en Mister Motley het essay Ik wil een constant orgasme in een prachtig lichaam over de krachtige kwetsbaarheid van trans*lichamen. In deze aflevering gaat Lieneke Hulshof van Mister Motley met Dagmar in gesprek. Lees essay hier: https://studiumgenerale.artez.nl/nl/studies/essay/ik+wil+een+constant+orgasme+in+een+prachtig+lichaam/ of hier: https://www.mistermotley.nl/ik-wil-een-constant-orgasme-in-een-prachtig-lichaam/ In deze aflevering komt een citaat voor uit ALL THAT GASZ van Geo Wyeth, luister (of koop) het hele album ATM FM hier: https://geowyeth.bandcamp.com/album/atm-fm Verdere tipt van Dagmar Bosma het werk van Sands Murray-Wassink en Lou Lou Sainsbury: https://www.sands1974.com/ https://loulousainsbury.com/ Geproduceerd door Ondercast in opdracht van Studium Generale ArtEZ. Mister Motley redacteur voor deze editie: Lieneke Hulshof. Tune: Daan van Haaren

Moral Shame Talks is a podcast series of three episodes that explores the complexities of consumers’ moral shame in the context of the sustainability debate within the fashion industry. By tackling moral shame –a form of shame that consumers experience in their consumer behaviour while knowing they are not making sustainable choices – stories can be told about the complexity and systemics of the fashion industry and the sustainability debate in it. In the podcast series Lindy Boerman, finals student of the ArtEZ Master Fashion Strategy, collects different ideas, critical perspectives and personal thoughts. By including personal stories consumers have about moral shame and reflecting on this together with people from various professional background and with various perspectives she gives meaning to, and places moral shame in the contemporary context. In this episode, Christine (Cimpian, MA Behavioural Science, RU) and Lindy discuss moral shame from a behavioural science point of view. They take a look at what is crucial to moral shame: a friction between the consumers’ sustainability aspirations and ambitions and their actual behaviour. Christine and Lindy investigate what plays an important role in the consumer behaviour that leads to moral shame. Sources Christine mentions Interested in temporal discounting in relation to sustainability? Read (1) Green, L. & Myerson, J., 2004. A discounting framework for choice with delayed and probabilistic rewards. Psychological bulletin. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1382186/ and (2) Odum, A.L., 2011. Delay discounting: I'm a k, you're a k. Journal of the experimental analysis of behavior. Available at: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3213005/ Want to read more about implementation intentions? See: Gollwizter, P.M., 1999. Implementation intentions: Strong effects of simple plans. American Psychologist, 54(7), pp.493–503. On consumers & agency: Hamilton, C., 2009. Consumerism, self-creation and prospects for a new ecological consciousness. Journal of Cleaner Production. Available at: https://www.sciencedirect.com/science/article/abs/pii/S0959652609003023?casa_token=5e42BtTFvmYAAAAA%3AFa6lh4OPpHDPvVrl7Xasl2ycHik2l9iihqjS9pNwnDMA64LaEOiJFfNLuEu2JfxnwmQd5qEfXBB [Accessed May 19, 2021]. Interested in some more sources? McNeill, L. & Moore, R., 2015. Sustainable fashion consumption and the fast fashion conundrum: fashionable consumers and attitudes to sustainability in clothing choice. Wiley Online Library. Available at: https://onlinelibrary.wiley.com/doi/abs/10.1111/ijcs.12169 [Accessed May 21, 2021]. Want to read more on a sustainability on an individual level: Pappas, E.C., 2013. Individual sustainability: Preliminary research. IEEE Xplore. Available at: https://ieeexplore.ieee.org/abstract/document/6685115 [Accessed May 21, 2021]. Want to know more about cognitive dissonance? Please see: Thøgersen, J., 2003. A cognitive dissonance interpretation of consistencies and inconsistencies in environmentally responsible behavior. Journal of Environmental Psychology. Available at: https://www.sciencedirect.com/science/article/abs/pii/S0272494403000392 [Accessed May 21, 2021]. Sources Lindy mentions Read further about affective dissonance in: https://www.tandfonline.com/doi/full/10.1080/1362704X.2019.1676506 Read more about the three degrees of influence, please read this article: https://decorrespondent.nl/11718/ja-het-is-allemaal-de-schuld-van-shell-klm-en-het-systeem-maar-zullen-we-het-nu-eens-overjouhebben/450498510-0abb8d69 More information on sustainable sensoriality, please read this article: Living-With and Dying-With Thoughts on the Affective Matter of Food and Fashion in https://apria.artez.nl/wp-content/uploads/2020/10/APRIA-Issue-1-Print-Out-V12.pdf Read more about the supermarket of identities in Dissolving the Ego of Fashion by Daniëlle Bruggeman. ...

Moral Shame Talks is a podcast series of three episodes that explores the complexities of consumers’ moral shame in the context of the sustainability debate within the fashion industry. By tackling moral shame –a form of shame that consumers experience in their consumer behaviour while knowing they are not making sustainable choices – stories can be told about the complexity and systemics of the fashion industry and the sustainability debate in it. In the podcast series Lindy Boerman, finals student of the ArtEZ Master Fashion Strategy, collects different ideas, critical perspectives and personal thoughts. By including personal stories consumers have about moral shame and reflecting on this together with people from various professional background and with various perspectives she gives meaning to, and places moral shame in the contemporary context. In this episode, Esra (Van Koolwijk, (MA student Sociology Radboud University)) and Lindy discuss moral shame from a sociological perspective. Therefore, this episode investigates moral shame of consumers in relation to their social environment and examines how and whether moral shame functions as a dividing line between different groups of people. Sources Esra mentions For more information about post materialism, please visit this link: https://www.researchgate.net/profile/Jochen-Mayerl/publication/325750156_Two_Worlds_of_Environmentalism_Empirical_analyses_on_the_complex_relationship_between_Post-Materialism_National_Wealth_and_Environmental_Concern/links/5b4df87c45851507a7a7ae12/Two-Worlds-of-Environmentalism-Empirical-analyses-on-the-complex-relationship-between-Post-Materialism-National-Wealth-and-Environmental-Concern.pdf Shame as a human emotion can be found in the book of Rutger Bregman named De meeste mensen deugen. https://decorrespondent.nl/demeestemensendeugen Bourdieu & his ideas of capital are discussed in this article: Bourdieu, P. (1986). The forms of capital. In: Richardson, J., Handbook of Theory and Research for the Sociology of Education. Westport, CT: Greenwood: 241–58. For the work of Hans Eikelboom see this article: https://www.parool.nl/nieuws/ben-ik-een-product-van-mezelf-of-van-mijn-omgeving~ba10e469/ For more information on how lower educated people having less mental space: https://decorrespondent.nl/511/waarom-arme-mensen-domme-dingen-doen/19645395-f6c9a0bd Sources Lindy mentions The story of Dior after the second world-war called Red Petals can be read here: https://blog.e-byrne.com/2018/08/14/red-petals/ Book of Jennifer Jacquet where she mentions how the rich can buy their way out of environmental guilt: Jacquet, J. (2015) Is SHAME really necessary? New uses for an old tool. New York: Pantheon Books. The work of the exactitudes Lindy discusses: https://exactitudes.com/ The article that discusses with the title how the new elite distinguishes itself through yoga, podcasts and oat milk: https://www.nrc.nl/nieuws/2019/01/31/de-nieuwe-elite-onderscheidt-zich-met-yoga-podcasts-en-havermelk-a3652474 Radio ArtEZ is produced by Ondercast for Studium Generale ArtEZ. Studium Generale curator for this series: Catelijne de Muijnck