Radio Web MACBA <https://rwm.macba.cat/en> - Most listened podcasts April 2022
*1/ Jara Rocha: <https://rwm.macba.cat/es/sonia/sonia-350-jara-rocha> "Necesitamos ocuparnos de detectar zonas de potencia (...) que la disidencia no consista solo en una actitud antagónica sino también afirmativa; encontrar zonas en las que podrían organizarse las relaciones de aprendizaje de una manera más justa, más invitante a agencias otras que ahora mismo están excluidas. Ahí es donde está la sensibilidad de la pedogagía radical, crítica, o libertaria." (only available in Spanish)* Researcher and activist 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 *2/ Marina <https://rwm.macba.cat/es/sonia/sonia-351-marina-garces> Garcés: <https://rwm.macba.cat/es/sonia/sonia-351-marina-garces> “La idea de la educación como invitación es precisamente esta: no pienses como yo, piensa conmigo. No hagas como yo, haz conmigo. No dibujes como yo, vamos a dibujar juntos. Es decir, que no quiere decir ni igual ni del mismo modo, sino unos con otros.” (only available in Spanish)* We talk with philosopher, writer, and teacher Marina Garcés 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. <https://rwm.macba.cat/en/sonia/sonia-351-marina-garces> Link: https://rwm.macba.cat/es/sonia/sonia-351-marina-garces *3/ Jon Leidecker: <https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc> "As recording supplanted sheet music in the 20th century, the presence of communal influence became unavoidably obvious once again as composers began to use recordings to make new recordings. From the beginning, recordings have been instruments."* ‘Variation’ is the formal term for a musical composition based on a previous musical work, and many of those traditional methods (changing the key, meter, rhythm, harmonies or tempi of a piece) are used in much the same manner today by sampling musicians. But the practice of sampling is more than a simple modernization or expansion of the number of options available to those who seek their inspiration in the refinement of previous composition. The history of this music traces nearly as far back as the advent of recording, and its emergence and development mirrors the increasingly selfconscious relationship of society to its experience of music. Starting with the precedents achieved by Charles Ives and John Cage, VARIATIONS <https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc> presents an overview of the major landmarks in Sampling Music, following examples in twentieth century composition, folk art and commercial media through to the meeting of all those threads in the present day. Curated and produced by Jon Leidecker. Link: https://rwm.macba.cat/en/buscador/radio/serie/variations-9458?sort=date&order=asc *4/ Chris Cutler's PROBES #32.2 Auxiliaries <https://rwm.macba.cat/en/research/probes-322-auxiliaries>* Amongst the new acoustic inventions Chris Cutler's PROBES #32.2 Auxiliaries <https://rwm.macba.cat/en/research/probes-322-auxiliaries>highlights: the Rumitone, the Uberorgan, a whole Anarchestra, Philip Dadson's Sproings, a Violimba, some scraper flutes, an Aquavine, Diego Stocco's Custom-built Orchestra, an elastic aerophone-centriphone, Leonardo da Vinci's viola organista, Martin Molin's heroic Marble Machine and many other hopeful and inspired monsters. *5/ Walter Mignolo: <https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo>"La historia universal es una manera de mantener el control narrativo del conocimiento. Para nosotros la historia es parte fundamental de la colonialidad del saber. Las instituciones que están detrás de esto son la universidad y el Museo también." (only available in Spanish)* Walter Mignolo <https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo> talks about the relation between the construction of history and the perspective of power, as imposed by the West. In this conversation, he also explores the ways in which art and museums have contributed to the construction of the colonial matrix, and the strategies that contemporary theory has come up with to influence this Westernised view of the museum as a centre of knowledge. Link: https://rwm.macba.cat/es/sonia/sonia-197-walter-mignolo *E/N/J/O/Y!* *+* *TAKE CARE!*
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