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amerikanische Komponistin
- Vereinigte Staaten
- Komponist, Pianist
Letzte Aktualisierung
2024-06-01
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Michael Brown Rosenfeld 1500 1719 1912 1949 2006 2008 2014 2018
This is a conversation between Shamika Klassen and host, Johannes Castner, about Shamika's original concept Techno Womanism, what influenced her to create the concept and many other related ideas, such as identity. Shamika's paper on Techno womanism can be downloaded here: (http•••) Here is her paper, with Dr. Xeturah Woodley: (http•••) In our discussion we referred to a number of people and books: (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••)ign/PDF/speculative-everything.pdf (http•••) 00:00 Techno Womanism 00:00 theme song (written, performed and mixed by Neal Rosenfeld, sang by Jennifer Youngs) 00:35 welcoming message 00:47 introducing Shamika Klassen 02:04 introduction to Techno Womanism 02:30 what is Womanism 03:48 the three waves of Womanism 04:53 how Shamika came to create Techno-Womanism 08:02 Liberation Theology 10:06 theology and ethics 11:12 the tenets of Techno-Womanism 15:00 biases and the need for intersectionality 17:19 Foucault's critique of human categories as domination 19:12 is removing categories cultural erasure? 19:49 can AGI (Artificial General Intelligence) force us to rethink our identites as humans? 20:48 where does identity come from? 21:51 human identity after the white supremacist system falls 31:57 technological perpetuation of the white suprimacist system 32:59 biases and blind justice, the case of recidivism 41:47 technologists must understand whom they are building things for 43:58 what does scaling mean for diversity; is Techno Womanism a global concept? 45:03 the need to teach humanities alongside computer science 45:46 the Black Mirror Writer's Room exercise 46:33 Speculative Design 49:24 the ethical dimension of Speculative Design 52:18 Augmented Intelligence 55:19 who is and who will be in the driver's seat, AI, corporate leaders, or most of us? 58:33 user experience research to bring marginalized peoples into the process of building the future 59:44 how to keep up with Shamika's work 01:00:30 call to keep the conversation going 01:00:50 what's next on the show
Abbadia Campanari Segni Zani Bianchi 1150 1355 1430 1515 1808 1920 1947
Crebbio (LC), frazione di Abbadia Lariana, lago di Como, riviera orientare lariana Chiesa Parrocchiale di Sant'Antonio Abate 5 campane manuali in Fa3 calante Fuse da: Pietro Luigi Comerio - Malnate nel 1808 (Sol3 rifuso da Felice Bizzozero - Varese) Suonate, a concerto e a tastiera, eseguite manualmente dalla Federazione Campanari Ambrosiani in occasione della festa patronale di Sant'Antonio Abate avvenute in occasione della Messa Solenne delle 10:30 (9 e 45, 10, 10 e 15), al termine della stessa (11 e 20), per l'Angelus, in occasione dei Vespri Solenni con Benedizione degli Animali e delle ceste alle 14:30 +••.••(...) e 15) e alla fine di questi (15 e 20): [0:06] Allegrezza suonata da Simone Cairo [1:23] CONCERTO SOLENNE filmato da 5 differenti posizioni in quanto unione di tutti i segni fatti. Tutti i concerti sono stati diretti da Simone Cairo (alle campane si alternano i suonatori, ad eccezione della seconda suonata da me in tutti i concerti) [9:06] Allegrezza suonata da Campanaro41 [10:46] Allegrezza suonata da Massimo Zani [11:50] Allegrezza suonata dal sottoscritto [12:56] Allegrezza suonata da Tommaso G. [13:55] Inno Italiano suonato da Davide M. - Ringrazio la Federazione Campanari Ambrosiani in particolare: Simone Cairo, Massimo Zani, Tommaso G., Tommaso B., Campanaro41 e Davide M., organizzatore dell'evento, oltre al consueto ringraziamento alla parrocchia di Crebbio per la rinnovata disponibilità Dal Minuto 15:15 alla fine la discesa del Concerto Solenne di Mandello del Lario avvenuto in occasione dell'Angelus festivo, il Campanile della Chiesa parrocchiale di San Lorenzo possiede un concerto di 5 Campane in Si2 fuse da Felice Bizzozero nel 1947 (Si2 Angelo Bianchi e figli 1920)
Johann Christian Bach Bach Jean Pierre Rampal Pierre Pierlot Gérard Jarry Serge Collot Karl Friedrich Abel Christian Ferdinand Abel Burney Frederick Great 1735 1764 1768 1772 1776 1781 1782
00:00 Quintet No. 2 in G major: Allegro - Allegro assai 06:00 Quintet No. 5 in A major: Allegretto - Tempo di Minuetto 11:30 Quintet No. 1 in C major: Allegretto - Andantino - Minuetto con variazione 21:39 Quintet No. 6 in D major: Allegro - Andantino - Allegro assai 31:29 Quintet No. 3 in F major: Andante - Rondo (Allegretto) 38:14 Quintet No. 4 in E flat major: Andante - Minuetto - Allegro Flute: Jean-Pierre Rampal / Oboe: Pierre Pierlot French String Trio: Gérard Jarry, violin / Serge Collot, viola / Michael Tournus, cello Johann Christian Bach’s activities in London were not limited to the composition of Italian operas. In the English capital he met again a former pupil of his father’s: the viola da gamba player and composer Karl Friedrich Abel. It was for the latter’s father, Christian Ferdinand Abel, a member of the Coethen orchestra, that Johann Sebastian had composed his Suites for unaccompanied cello. In London Johann Christian joined forces with the son, Karl Friedrich, and founded a concert society. They were joint directors from 1764 to 1781, and Abel continued for a while after Johann Christian’s death. They gave a concert every week and, as Burney tells us, "as their own compositions were new and excellent, and the best performers of all kinds, which our capital could supply, enlisted under their banners, this concert was better patronised and longer supported than perhaps any one had ever been in this country; having continued for full twenty years with uninterrupted prosperity.’ Johann Christian was among the first to play the pianoforte publicly in London (June 2, 1768). He and Abel thus presented themselves as performers and composers at the same time. When the eight-year-old Mozart arrived in London in 1764 he found Johann Christian concert director, harpsichord teacher to Queen Charlotte, accompanist to the King (who, like Frederick the Great, played the flute), and music master to the royal children. Mozart listened with all his ears to the new compositions of the two German masters who were then setting the tone of English musical taste, and even copied some of them out. (It is known that the Symphony in E flat major, K. 18, formerly attributed to Mozart, is actually by Abel.) Several sets of works have come down to us in which Johann Christian employs wind instruments, sometimes alone and sometimes in combination with strings. Opus 11 — six quintets for flute, oboe, violin, viola, and bass — was published by Welcker in London about 1776. The Quintet in D major, Op. 22 has the same instrumentation. Other works include a Quintet in F major for oboe, violin, viola, cello, and harpsichord, four wind quintets published in Dublin after the composer’s death and known as Military Pieces, and six Sinfonias for two clarinets, two horns, and bassoon usually regarded nowadays as arrangements. Mrs. Papendieck’s diary recounts an episode in Johann Christian’s life about 1776. "John Bach’ was in the habit of playing every Thursday at her house with the Queen’s chamber musicians, and he and Abel would take turns to compose something for these gatherings. One day, having forgotten that it was his turn, Johann Christian sat down before dinner and composed "a ravishing first movement for a quintet in E flat major"; two copyists wrote out the parts at his dictation as the work proceeded. This was the origin of the fourth Quintet of Opus 11. The completed set was dedicated to Karl Theodor, Elector Palatine at Mannheim, where Johann Christian had enjoyed a real triumph with his Temistocles in 1772, and where he presented Lucio Silla in 1776. The dedication of the Quintets read as follows: "Your Highness’s benevolent approval of my efforts at Mannheim has given me infinite satisfaction. Music and the fine arts, supported by your favor and guided by your taste and the thoughtful strength of your judgment, flourish there with unsurpassed vigor. Your Highness’s new command gives me the greatest joy. I am also eager to offer Your Highness this modest token of my constant gratitude for the consideration you have been pleased to accord me.”
Abbadia Destro Bassi 1761 1832 1994
Abbadia Lariana (LC) - Crebbio Chiesa Parrocchiale di Sant’Antonio Abate - Organo Serassi - Tornaghi - Corno +••.••(...)) - Organo posto in cantoria sul lato destro della navata centrale, racchiuso in elegante cassa lignea decorata a tempera in cima alla quale si stagliano due angeli con la tromba. Prospetto composto di 28 canne disposte a cuspide in un’unica campata. Le bocche sono allineate con labbro superiore a mitria. Canna centrale: MI 1 del principale 8’. La canna Fa 1, recante la firma di Andrea Luigi Serassi è la seconda in ordine di altezza. Trasmissione integralmente meccanica. Tastiere in consolle a finestra di 58 tasti ciascuna (ambito Do 1/La 6), i tasti diatonici sono ricoperti di ebano, quelli cromatici di osso. Unione delle tastiere a cassetto. Pedaliera parallela con tasti cromatici disposti radiali. A destra della pedaliera: due pedaloni collegati rispettivamente alla combinazione libera alla lombarda e al tira-ripieno. Pedaletti, da sinistra a destra: unione I/ped; II/ped; tromba e fagotto; ripienino. A sinistra della consolle ci sono i registri dell’organo positivo. Registri comandati da manette lignee a movimento orizzontale ed incastro a fine corsa alla lombarda, disposte in due colonne a destra delle tastiere per il grand’organo ed il pedale. Per quanto riguarda il solo grand’organo la spezzatura tra bassi e soprani è tra DO# e Re centrali. Tiranti su due colonne a sinistra delle tastiere per l’organo positivo. Temperamento equabile. Somiere a vento per il grand’organo, a tiro per l’organo positivo. Testo : enricoviccardi.org
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- Zeitleiste: Komponisten (Nordamerika). Interpreten (Nordamerika).
- Indizes (in alphabetischer Reihenfolge): F...