Radio Web MACBA <
https://rwm.macba.cat/en> - Most listened podcasts May 2022
*1/ *Marina <
https://rwm.macba.cat/es/sonia/sonia-351-marina-garces> Garcés:
<
https://rwm.macba.cat/es/sonia/sonia-351-marina-garces>* “**Tenemos una
idea de futuro muy productivista: proyectar, producir, construir, son los
verbos con los que hemos arrasado el mundo. Futuro es que después de una
cosa pase otra y que podamos pensar que es mejor que la anterior y que nos
interesa más o que tiene más sentido o que es más justa o que es más digna.
Futuro es continuidad y a la vez discontinuidad respecto a lo que queremos
seguir siendo. Por eso es importante conocer esos pasados de los que nos
vamos desvinculando.” (only available in Spanish)*
We talk with philosopher, writer, and teacher Marina Garcé
<
https://rwm.macba.cat/en/sonia/sonia-351-marina-garces>s about education
and knowledge, about the future, and about time as raw material. We
consider the question of how to appear and think with others in this
present moment, which demands our active involvement. We discuss the
meeting of unequals, and the possibility of strangeness becoming a link. We
also explore the logic of the sinking ship or “every man for himself” and
the evolution of the words “disobedience” and “freedom”, which leads Marina
to emphasise the importance of forming alliances rather than thinking from
the reductionist position of unity. At the same time, she invites us to
imagine how to weave together worlds that are falling apart.
Link:
https://rwm.macba.cat/es/sonia/sonia-351-marina-garces
*2/ Teresa Lanceta:
<
https://rwm.macba.cat/en/sonia/sonia-353-teresa-lanceta> "El tejer me ha
llevado a la posibilidad de entrar en un mundo en calma. A parte que es
hipnótico, con lo cual entras en una especie de nirvana, que te coloca en
otro lugar." (only available in Spanish)*
In this conversation with Spanish artist Teresa Lanceta,
<
https://rwm.macba.cat/en/sonia/sonia-353-teresa-lanceta> the sense of
touch reclaims space from the gaze. At the same time, we recover the wisdom
of weaving in terms of community, as an open source code for those who know
and perform it. And through this repetitive, necessary gesture, technique
becomes form, and form becomes language. Thus the margins disappear and
give way to rhombuses, torn bits, darning, mending... depending on what’s
going on at that moment in time. A practice of thinking and making with
others, and a journey of journeys through which a myriad of mundane objects
speak: skeins of wool, cushions, rugs, water jugs, and beach towels.
Link:
https://rwm.macba.cat/en/sonia/sonia-353-teresa-lanceta
*3/ Flavia Dzodan:
<
https://rwm.macba.cat/en/sonia/sonia-352-flavia-dzodan>"Hay algo a lo que
le tengo alergia y es a la idea de neutralidad, a la idea de objetividad.
Nada de eso existe. Lo que existen son las subjetividades cis blancas
masculinas europeas colonizadoras que se han convertido en universalismos.
Son subjetividades que simplemente por haber tenido acceso al poder se
clasificaron como lo neutral, lo objetivo. Yo creo que no existe la teoría,
no existe el análisis político sin la subjetividad. Es éticamente imposible
que eso exista." (only available in Spanish)*
We talk to writer and researcher Flavia Dzodan
<
https://rwm.macba.cat/en/sonia/sonia-352-flavia-dzodan>about fashion,
opulence, peripheries, phrenology, taxonomies, canons of beauty, luxury
fakes, and migrant detention centres. An intense journey that touches on
her personal history and includes references to other writers, notes on her
methodology, and a few potshots at centres of power.
Link:
https://rwm.macba.cat/en/sonia/sonia-352-flavia-dzodan
*4/ Jara Rocha: <
https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha> "C*ómo
organizar el tiempo para combinar distintas interlocuciones e
interpelaciones es una pregunta constante. Cómo organizarnos para estar en
contacto con semejantes, que es necesaria, pues es la defensa de los
espacios no mixtos; y también con diferentes, con gente que tiene las manos
en la herramienta y que por lo tanto es capaz, o más capaz, de hacer un
intervención transformadora.*" (only available in Spanish)*
Researcher and activist Jara Rocha
<
https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha>’s practice is
concerned with mediating and mobilising the conditions of meaning
production and materials for possibility. Fond of complexity and grounded
in a trans*feminist sensibility, they explore the inequalities and stark
contrasts in the distribution of the technological. They draw attention to
the politics and aesthetics embedded in infrastructures and to how power
organises itself, becoming simultaneously visible and inaccessible.
Link:
https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha
*5/ Chris Cutler: <
https://rwm.macba.cat/en/research/probes-33>"We first
learn to navigate our acoustic environment instinctively; knowledge comes
to us unbidden as a practical corollary of sentience. In other words we
observe, we act and we absorb. As time passes we learn to refine and
objectify this knowledge through a combination of instruction, imitation
and experiment. Meanwhile – and by a similar route – we also acquire
musical skills, as we absorb the grammar and semantics of the sonic culture
in which we are raised – and, for us, this is a system that encodes a kind
of lexicon of affect which assigns particular meanings and emotions to
particular combinations of sounds, periodicities and silences."*
In PROBES #33 <
https://rwm.macba.cat/en/research/probes-33> we begin to
trace the impact of the application of electricity on the world of music
and look more closely at the Musical Telegraph, the
two-hundred-ton Telharmonium (a 19th century mechanical synthesizer) in
America, as well as the Theremin and the visionary Rhythmicon in the USSR.
Link:
https://rwm.macba.cat/en/research/probes-33
Transcript:
https://rwm.macba.cat/en/extra/probes-33-transcript
*E/N/J/O/Y!*
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