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Mitchell Dean, Rebel, Rebel? Revisiting the radical legacy of Michel Foucault via David Bowie, Stanford University Press blog, 19 Feb 2016

In order to understand any major thinker and their legacy, it is important to consider their context—a truism that is very hard to put into practice, especially when the thinker in question belongs both to the recent past but is still very much a part of our present. In part, this explains the wealth of discussion swirling around the recent passing of a certain protean pop icon who left behind a singular era-defining legacy. It’s also for this reason that another standout cultural figure of the seventies—a certain French philosopher—has become so difficult to situate in our contemporary moment.

I speak, of course, of David Bowie and Michel Foucault whose political projects paralleled one another in intriguing ways. Whether in the intellectual works of the philosopher, or the records and performances of the artist, both men were concerned with questions of identity, whether sexual or personal; both focused on the persona or the construction of subjectivity rather than the more fixed humanist subject; both supported and even celebrated the marginal—whether incarnated as Bowie’s space alien or Foucault’s “abnormals” produced through disciplinary knowledges; and both made the experience of madness, transgression and intensity part of their art or thought. Both would also go on to develop an aesthetics of the self, turning life and ultimately death into a work of art or self-transformation. Blackstar, Bowie’s last album, was released days before he succumbed to cancer and Foucault’s final two volumes of History of Sexuality were published in the weeks preceding his death. With these swan songs, the pop star and the intellectual celebrity each died with a flourish and left us with work that spoke to and beyond their own deaths. Indeed, like this album, Foucault’s very last lectures, delivered when he surely suspected his condition was terminal, meditate on death and demise.


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Heterotopia Remixes Vol. 2 Astral Plane Recordings .

Play list
Music available on site

1.Jacques Gaspard Biberkopf — Public Love (Air Max ’97 Bootleg)04:22
2.Kid Antoine — Nightvision (Mike G Remix)05:13
3.Rushmore — Moment X (Victoria Kim’s Kowloon Edit)03:48
4.Celestial Trax — Illuminate (Iglew Remix)05:01
5.Victoria Kim — Apgu Freeway (Rushmore Remix)04:11
6.Arkitect — Foucault’s Dream (Riley Lake Remix)06:04

See also Bandcamp and Soundcloud

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Heterotopia is out now!

The Astral Plane

TheAstralPlane_VectorFINAL01

Release day is always a bit bittersweet, because, despite all the dithering and busy work that goes into releasing music, it means that the process is almost over. That being said, Heterotopia has been a passion project of ours for quite some time now and it’s with great, treacly pleasure that we finally get to unleash it on all of you. Heterotopia is inspired by Michel Foucault’s essay of the same, but not to the extent that the compilation is imprisoned within the French philosopher’s admittedly problematic framework. The tape is positioned to guide the listener into an alternate reality, not in the science fiction sense, but in the liminal, distinctly body-oriented manner of the club-verse. It was our intention to gather a group of transcendent, progressive musicians and the artists who participated in the project took the conceptual framework to heart and drafted 12 polyglot heat rocks that have…

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7-ange7 PROPOS SUR LE 7E ANGE

THÉÂTRE — MUSIQUE

Du 18 juin 2014 au 23 juin 2014
du lundi au samedi [19h30], le dimanche [17h]

DUREE 1h

Texte Michel Foucault
Preface de la grammaire logique de jean-pierre brisset

Mise en scène Bruno Boulzaguet
Composition Jean-Christophe Feldhandler

Théâtre de L’échangeur, Bagnolet

59, Avenue du General de Gaulle 93170 Bagnolet – metro Gallieni
tarifs 13/10€ – reservations 01 43 62 71 20 – info@lechangeur.org –

Les hommes sont si nécessairement fous que ce serait être fou par un autre tour de folie de n’être pas fou.
Pascal

Michel Foucault, passionné par les fous et le thème de la folie, s’éprend du célèbre « fou littéraire » de la fin du XIXe siècle, Jean-Pierre Brisset , qui fût apprenti pâtissier puis officier de la police judiciaire puis inventeur de la bouée, avant de devenir Grammairien et donner des leçons de langues vivantes.
Une trouvaille que ce phénomène littéraire dont nous connaissons 7 publications dont : « La Grammaire logique » et « La Science de Dieu » qui se donnent comme une recherche sur l’origine de toutes les langues. Brisset y développe une scénographie phonétique ou tous les mots de toutes les langues s’expliquent par le bruit qu’ils font. Dans le langage en émulsion, les mots sautent au hasard, comme les grenouilles dans les marécages, bondissent selon un sort aléatoire, au commencement étaient les dés.
En 1973, Michel Foucault participe à la réédition de La Grammaire logique & la science de Dieuen écrivant un portrait drôle et vertigineux de Jean-Pierre Brisset intitulée : 7 propos sur le 7e ange.
C’est le texte de notre conférence/concert sur l’origine de toutes les langues, un cours de linguistique décalé.
Un conférencier et un percussionniste, pour que le jeu des mots se mêle au jeu des sons.
Univers phonétique

Une première version de ce spectacle a été réalisée au théâtre de L’Atalante en Juin 2011.

Compagnie
THEODOROS GROUP

Textes
Michel Foucault

Metteur en scène
Bruno Boulzaguet

Jeu
Bruno Boulzaguet

Musiciens
Percussions Jean-Christophe Feldhandler

Lumière
Olivier Ooudiou

Composition
Jean-Christophe Feldhandler

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From The Boston Globe, April 9 2013

The Knife, ‘Shaking the Habitual’

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Calling “Shaking the Habitual” an album sells it short. The latest from the Swedish electronic duo the Knife, it’s more along the lines of an installation piece you’d find at a gallery, a knotty tangle of polyrhythms, distorted vocals, and heady influences ranging from French philosopher Michel Foucault to gender studies. It’s pop music that belongs under glass: Look, but don’t touch.

It’s the kind of record that is so self-possessed and primal, it nearly steamrolls the listener. Thirteen songs give way to 98 minutes and address everything from sexuality to the evils of capitalism and political corruption. Oh, and there’s a song called “Fracking Fluid Injection” full of fractured and oscillating vocals. (Let that be the line in the sand.)

rest of article

Another review
Also… a review of a London concert by the band

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From the Portail Michel Foucault

7 PROPOS DU SEPTIÈME ANGE D’après Michel Foucault

Création collective de Bruno Boulzaguet
Jeu : Bruno Boulzaguet
Percussions : Jean Christophe Feldhandler
Lumières : Olivier Oudiou.

Penseur excentrique, écrivain prophétique et linguiste « juché au point extrême du délire » (Selon Michel Foucault), Jean-Pierre Brisset (1837-1919) était animé d’une confiance absolue dans les raisonnements les plus tortueusement logiques qui mènent immanquablement aux confins de la divagation hilarante, comme le démontre ce spectacle, une drolatique leçon de grammaire pour un acteur et un musicien. (durée 40mn)

Deuxième partie : (De 20mn à 30mn) Chaque soir un concert ‘carte blanche’ Proposé par la Cie Théodoros Group.

Théâtre de L’Atalante
10, place Charles-Dullin 75018 PARIS

du lundi 20 au jeudi 30 juin 2011 à 20 h 30, le samedi à 19 heures, relâche le dimanche

Tarif préférentiel de 10 euros du lundi 20 au vendredi 24 Juin 2011
Réservation au 01 46 06 11 90

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Foucault Inspires Trio

From Hartford Courant

A venerable venue with a varied musical menu, Real Art Ways serves the highly original, sizzling, simpatico music by the trio Parrhesia on June 11 at 8 p.m. at the contemporary arts center, 56 Arbor St., Hartford, USA

Inspired by the French philosopher, social theorist and historian of ideas Michel Foucault, especially his reflections on the necessity for truth-telling, freedom and frankness in discourse, the empathetic trio members are Stephen Haynes, trumpet, cornet and flugelhorn; Joe Morris, electric guitar, and Warren Smith, drums, percussion, marimba and voice.

Released in 2010, Parrhesia’s self-titled album has been praised for the instrumental textures that emerge from the musical discourse among the three intensely interacting musicians. In their frank manner of speaking among themselves musically, the three freedom-loving musicians weave unique textures with their individualistic approach to their instruments, improvising true discourse without false discord.

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