Episode 13 - Patterns

The Rotkho Chapel

Krzysztof Penderecki: Canticum Canticorun Salomonis (1970/73) [16.52]

Filippo Tommaso Marinetti: Cinque Sintesi Radiofoniche from “Musica Futurista – The Art of noises” (1980) [13.08]

Harry Partch: Time of Fun Together from “Delusion of the Fury” (1969) [8.08]

Joan La Barbara and John Cage: Sonnekus from “Singing Through” (1990) [17.08]

Morton Feldman: The Rothko Chapel (1971) [23.47]

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Episode 12 - Signs/Reality Transitions [Pt. 2]

Ryoji Ikeda: + from “+/-“ [10.55] (1996) - Witold Lutoslawski: Cello Concerto (1970) [23.05] - Ryoji Ikeda: - from “+/-“ [6.36] (1996) - Olivier Messiaen: Séquence du Verbe, Cantique Divin (Dieu Présent en lui-meme) from “Trois Petites Liturgies de la Présence Divine (1943-1944) [6.46] - Ryoji Ikeda: - from “+/-“ [11.51] (1996) - Giacinto Scelsi: Quattro Pezzi su una Nota Sola II (1959)[4.40] - Ryoji Ikeda: - from “+/-“ [13.24] (1996) - Pierre Schaeffer & Pierre Henry: Les Monstres from “Orphée” [3.25] (1953) - Ryoji Ikeda: +-- from “+/-“ [1.05] (1996)

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Episode 11 – Signs/reality transitions [pt. 1]

Helmut Lachenmann: Dal Niente (Intérieur III) for clarinet solo (1970) [14.21]

Ryoji Ikeda: + from “+/-“ (1996) [2.50]

Karlheinz Stockhausen: Zeitmasse for five woodwinds (1955-56) [12.51]

Ryoji Ikeda: + from “+/-“ [5.57] (1996)

Luigi Nono: stage music from Ermittlung (1965) [22.12]

To listen to the podcast, go to Podomatic website and search for 'completecommunion'.

To send me material to be featured on the podcast, email me at galasi.g [at] virgilio.it or gianpaolo.galasi [at] gmail.com

Episode 10 – They say don’t worry (for James Baldwin)

Curtis Mayfield: Don’t Worry (if there’s a Hell Below) from “Curtis” (1970) [7.51] – Terry Callier: Bowlin’ Green from “Just Can’t Help Myself” (1974) [7.57] - Serge Gainsbourg: Brigade des Stups from “Aux Armes Et Caetera” (1979) [2.05] – Sam Cooke: A Change is Gonna Come from “Ain’t That Good News” (1964) [3.14] – Pop Group: Don’t Call me Pain from “Y” (1979) [5.35] – Nina Simone: Backlash Blues from “Protest Anthology” (2008) [3.03] – Al Green: Listen from “Let’s Stay Together” (1971) [2.30] – Betty Davis: If I’m in Luck I might get Picked up from “Betty Davis” (1973) [5.00] – Laura Nyro: Eli’s Comin’ from “Eli and the 13th Confession” (1968) [3.58] – Booker T. and the Mg’s: Green Onions from “Green Onions” (1962) [2.55] – Carla Bozulich: Baby That’s the Creeps from “Evangelista” (2006) [5.55] – Nancy Sinatra w/ Lee Hazelwood: Some Velvet Morning (1967) [3.38] – Led Zeppelin: No Quarter from “The Song Remains The Same” (1976) [12.29] – Doris Duke: By the Time I get to Phoenix from “The Swamp Dog Sessions and More” (2005) [4.01] – Nick Cave and the Bad Seeds: I had a Dream, Joe from “Henry’s Dream” (1992) [3.42] – Johnny Cash: God’s Gonna Cut You Down from “American V: A Hundred Highways” (2003) [2.38]

James Arthur Baldwin (August 2, 1924 – December 1, 1987) was an American novelist, essayist, playwright, poet, and social critic.

Baldwin's essays, such as the collection Notes of a Native Son (1955), explore palpable yet unspoken intricacies of racial, sexual, and class distinctions in Western societies, most notably in mid-20th-century America, vis-à-vis their inevitable if unnameable tensions with personal identity, assumptions, uncertainties, yearning, and questing. Some Baldwin essays are book-length, for instance The Fire Next Time (1963), No Name in the Street (1972), and The Devil Finds Work (1976).

His novels and plays fictionalize fundamental personal questions and dilemmas amid complex social and psychological pressures thwarting the equitable integration of not only blacks yet also of male homosexuals—depicting as well some internalized impediments to such individuals' quest for acceptance—namely in his second novel, Giovanni's Room (1956), written well before the equality of homosexuals was widely espoused in America. Baldwin's best-known novel is his first, Go Tell It on the Mountain (1953).

[from Wikipedia]

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Episode 9 – “The event doesn’t shuffle with the expression” - Gilles Deleuze

Borbetomagus: A1 from “New York Performances” (1986) [10.14] - Björk: Öll Birtan from “Medùlla” (2004) [1.52] - Grave Temple: II from “Ambient_Ruin” (2008) [17.35] - Gruppo di Improvvisazione Nuova Consonanza: Perfect Union (Trio Per) from “The Private Sea of Dreams” (1967) [5.52] - Demetrio Stratos: Passaggi from “Cantare la Voce” (1978) [5.19] - Kim Myhr, Burkhard Beins, Karl Ronnekleiv & Nils Ostendorf: Ringve Concert Pt. 1 from “Live at Ringve Museum” (2011) [12.31] - Hassan El Gharbi: Hidjaz from “Le Qanoun Enchanté” (1970) [6.56] - AMM: Ailantus Glandulosa from “AMMMusic” (1966) [5.31] - Meshuggah: Rational Gaze from “Nothing” (2006) [5.26]

Gilles Deleuze is a key figure in postmodern French philosophy. Considering himself an empiricist and a vitalist, his body of work, which rests upon concepts such as multiplicity, constructivism, difference and desire, stands at a substantial remove from the main traditions of 20th century Continental thought. His thought locates him as an influential figure in present-day considerations of society, creativity and subjectivity.  Notably, within his metaphysics he favored a Spinozian concept of a plane of immanence with everything a mode of one substance, and thus on the same level of existence.  He argued, then, that there is no good and evil, but rather only relationships which are beneficial or harmful to the particular individuals.  This ethics influences his approach to society and politics, especially as he was so politically active in struggles for rights and freedoms.  Later in his career he wrote some of the more infamous texts of the period, in particular, Anti-Oedipus and A Thousand Plateaus. These texts are collaborative works with the radical psychoanalyst Félix Guattari, and they exhibit Deleuze’s social and political commitment.

Gilles Deleuze began his career with a number of idiosyncratic yet rigorous historical studies of figures outside of the Continental tradition in vogue at the time. His first book, Empirisism and Subjectivity, isa study of Hume, interpreted by Deleuze to be a radical subjectivist. Deleuze became known for writing about other philosophers with new insights and different readings, interested as he was in liberating philosophical history from the hegemony of one perspective. He wrote on Spinoza, Nietzche, Kant, Leibniz and others, including literary authors and works, cinema, and art.   Deleuze claimed that he did not write “about” art, literature, or cinema, but, rather, undertook philosophical “encounters” that led him to new concepts.  As a constructivist, he was adamant that philosophers are creators, and that each reading of philosophy, or each philosophical encounter, ought to inspire new concepts. Additionally, according to Deleuze and his concepts of difference, there is no identity, and in repetition, nothing is ever the same.  Rather, there is only difference: copies are something new, everything is constantly changing, and reality is a becoming, not a being.

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To send me material to be featured on the podcast, email me at galasi.g [at] virgilio.it or gianpaolo.galasi [at] gmail.com