Archive for the ‘Music’ Category

Diff’rent Level : Governmentality Blues – Written by Alexander Martin. From circa 1992. Posted Nov 10 2016


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Power Is Everywhere songs on texts by Foucault by Kurt Rohde

Left Coast Chamber Ensemble Presents Francophilia
Tuesday, May 30 2017, 7:30-9:30pm | 50 Oak St
Hayes Valley, San Francisco

Complementing its foray into the French sound, Left Coast is proud to present the world premiere of Power Is Everywhere songs on texts by Foucault by celebrated American composer Kurt Rohde. “I find the writings and lectures of the groundbreaking thinker Michel Foucault to be direct, anything but simple, and yet always so clear,” said Rohde. “This new work is an assemblage of various writings and lectures, all in English. The singer is the observer, actor, and deliverer of the message; she is not there to simply sing the text – she is there to instigate the way the music unfolds.” Rohde’s piece is influenced by a confluence of operatic works, song cycles and theater. “It is not supposed to be any of those all the time. It is OK if it seems like it is from time to time,” the composer explains. “The power of how we think a voice is supposed to be used in song was a big part of how I wrote this piece – trying to be direct and clear, but not simple.”

This concert is repeated on Thursday, June 1 at the Berkeley Piano Club.

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Victoria Wasylak, Our Modern Dystopia: Schooltree shake up the rock opera with ‘Heterotopia’, Vanyaland: Music and Beyond, March 29, 2017

Somewhere over time, in between spoken lore and salty Facebook statuses, the rock opera was the en vogue way to recount epic stories. While the trend might have seen its peak of popularity around The Who’s eccentric Tommy, the opus still weasels its way into certain music scenes when some maestro builds enough ambition. For Lainey Schooltree, singer and keyboardist in art-rock outfit Schooltree, the desire to pen a rock opera has been ruminating inside her since she was 13. It just took some prompting from fans to get her rolling — and a Live Arts Boston grant from The Boston Foundation didn’t hurt, either.


Four years later, Schooltree debut their second album and rock opera Heterotopia this Friday (March 31) at Oberon in Harvard Square. Honing in on the metaphysical journey of main character Suzi, Heterotopia shares some common themes with the rock operas that inspired Schooltree when she was a teenager.


In the process of writing and recording Heterotopia, lots of high school psychology and literature lessons resurfaced as Schooltree discovered the unique challenges that come with writing a rock opera instead of a “normal” album. When crafting Heterotopia, Schooltree delved into Tolkien, Dante, Plato, and Jung to do research for the plot of the story, while the opera’s title is borrowed from philosophy Michel Foucault’s considerations of utopia and dystopia. Considering the opera’s vast influences, Schooltree describes the Heterotopia as a metaphysical fantasy with romantic and 20th century classical influences.

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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


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


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.

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.


Michel Foucault

Metteur en scène
Bruno Boulzaguet

Bruno Boulzaguet

Percussions Jean-Christophe Feldhandler

Olivier Ooudiou

Jean-Christophe Feldhandler

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