Showing posts with label radio 4. Show all posts
Showing posts with label radio 4. Show all posts

Monday, 30 December 2019

So Many Books, So Little Time - BBC Radio 4

Since my Mum is a retired Librarian and my Dad is a self-declared book hoarder, it is hardly surprising that I am also fond of books. One of the things I was most excited about when moving into my current flat, was the possibility of being able to have a bookcase on which all my books could be united and housed. I took great pleasure from gathering all my books together, measuring them and designing my very own bookcase in which they would fit (with a little room for expansion, of course!) 














I am drawn to the book as a physical object, hence my decision not to have a kindle or other electronic book device. I have many books that are more than their contents, there is a story behind getting the book - such as if it was bought for me and has a note inside. There's something about owning a book, being able to look back at it, refer to it when you have forgotten something, or being reminded of the time of your life when you first read the book.

Yet I hold my hands up high and admit that there are many books on my bookcase that I have yet to read. But I intend to read them.

I enjoyed listening to Mark Hodkinson discuss his relationship with books and the act of collecting books in this Radio 4 programme, 'So Many Books, So Little Time'.

Mark Hodkinson ponders the nature of our personal book collections, why and how we gather books, what it says about us, and how we ever expect to find time to read them all.

Author Mark had just moved house. By far the most difficult task was carrying, storing and alphabetising his collection of 3,500 books. It made him stop to think. If it took, say, four days of solid reading to finish a book, he’d need 38.3 years to go through his collection. He would have to make his way through 315 million words. And that’s if he didn’t take time off to sleep, eat and have the occasional night out.

Clearly, it was a challenge too far.

So Many Books, So Little Time is an autobiographical, impressionistic audio odyssey. Mark considers that he might be afflicted by bibliomania and visits consumer psychologist Lisa Edgar to see whether owning thousands of books is normal. He calls at his local bookshop and meets its owner, George Kelsall, who has ten times as many books as Mark and has bought a large house solely to accommodate them.

He visits fellow writers, such as Austin Collings who tells Mark he is in grave danger of becoming merely an aggregate of all his books and will eventually lose his own writing voice. Trevor Hoyle tells Mark that he views books as time capsules and, pulling copies down from the shelves, he can tell Mark when he bought them, what was happening in his life at the time. Joanne Harris, the million-selling author of Chocolat, tells Mark she has filled her house full of books because she can’t bring it upon herself to throw any away.

Practical concerns are not forgotten – Mark visits a carpenter, Ashley Deakin, who previously made a bookcase a week but now does one or two a year. ‘‘People don’t want to put books on their walls any more. They just want these bloody huge televisions,’’ he says. Ashley then remembers that he built a shelving unit just a few weeks ago.

"But it was for shoes,’’ he says.

A 7digital production for BBC Radio 4

Wednesday, 10 October 2018

The Joy of Text on BBC Radio 4

Artist and broadcaster Bob and Roberta Smith, famed for his hand-painted slogans, goes on a personal journey to explore how text and language are used in art. 

From monks in Cistercian Abbeys and medieval bureaucrats, to conceptual art subversives challenging who could be considered artists, Bob and Roberta Smith draws on a wide range of traditions. He also re-examines his own formative experiences with the interplay of words, colour and form to bring listeners into the present. 

Tom Phillips














Over the course of the programme, we're led on an emotional trip through a world of cut up Victorian novellas - and we encounter pop-art printing making nuns working at the coal face of the civil rights. Bob and Roberta Smith meets political cartoonists creating new languages, artists fusing text and images to give voices to the marginalised, and a group of women democratising art through text, images and a Risograph printing machine. 


Corita Kent

This programme reveals that - away from plays, novels or song lyrics - text and language have been adopted by artists in contrasting and ever-evolving ways, but these all reveal that text is an art form in itself. Featuring Steve Bell, Corita Kent, Janette Parris, Tom Phillips, Donna Steele and Sofia Niazi.

https://www.bbc.co.uk/programmes/b0bkqv3x

Friday, 2 March 2018

You're Doing It Wrong - Work - BBC Radio 4


In this series "Adam Buxton takes a sideways look at some of our confusing modern ideas." The first episode is about work. 

"Is the idea of a 'dream job' - one that inspires and fulfills us and makes our lives worth living - really possible? Or idealistic nonsense designed to make you feel guiltier, work harder, and complain less? Can we really be happy at work and should we be?

These days it's not enough just to turn up, work hard and bring home a wage; we should all be following our passions, chasing that dream job, and waking up every morning raring to get to the office. If your job is tedious, you hate your boss, and Monday mornings make you want to cry, it's probably YOUR FAULT for not being ambitious enough."


Buxton reveals that people working from home are said to be happier than those who go elsewhere to work. This is linked to having more control when working at home. But it does not necessarily mean that less work is done or that workers are less productive. In fact, research shows that people who work at home are more likely to work earlier, work later and overwork.

I can see that this is certainly a tendency of mine, but wonder how much of that is due to the type of work that I do. I enjoy being an artist and it is an important part of me. Would I be so driven and have the urge to reply to that last email late at night if I was not so passionate about what I do?

He discusses the problems of creative work and says that there are two ways to go about it
1. Have a non-creative job that pays the bills and then do the creative work in the evening
2. Get a job that pays you to be creative

I think there is an alternative, and that is the method that I choose. I have a part time job at a Library that helps pay the bills and provides me with some of the things I need from a job e.g. security, a routine, colleagues to be friends, a means of escape from my creative work. This part time job allows me to spend the rest of my time being a self employed artist. So I get the benefit of both worlds. I'm not saying that it is the perfect balance, but what is? One always needs more time, a pay rise and so on, but to be honest, I am pretty happy with the situation at the moment and long may that continue.

Friday, 11 August 2017

The Race to Fingerprint the Human Voice - Radio 4


A fascinating programme investigating the role of the human voice in forensic phonetics.

'Forensic phonetics - or voice identification - has long been used in legal proceedings to help determine if the voice on a recording is that of the defendant. But with the electronic age enabling the recording and storage of more data than ever before, its role in criminal investigations is changing rapidly and the race is on to "fingerprint the human voice".

Rory Bremner looks at some of the new research in this growing area of forensics - its applications in the fields of law enforcement and counterterrorism, and why there is such resistance to it in the UK, where we still prefer to rely on the human voice analyst than on an automated system. He hears about high profile cases involving speaker identification - including Michael Stone's conviction for the murder and Lin and Megan Russell and the conviction of John Humble as the hoax caller claiming to be the Yorkshire Ripper.

Rory also talks to Francis Nolan, Professor of Phonetics, about how the way we think of people as having "a voice" oversimplifies matters. Compared to a fingerprint pattern, which is always a constant, physical characteristic, the voice is the product of two mechanisms which vary considerably - the speech organs and language. Fingerprints are identified through literal analysis; voices are identified through comparative voiceprints. Your voice as your password is now becoming an everyday reality rather than a SciFi cliche. But can it really be said that every voice is unique, as some have claimed?

The development of increasingly sophisticated automated speaker recognition systems is now bringing the prospect of a "voiceprint" enticingly close. But how accurate are these systems? Can they differentiate between 'real' Trump and Rory's impression of Trump...?'

http://www.bbc.co.uk/programmes/b090293g

Contributors:
Professor Peter French
Professor Hugh McLachlan
Dr Helen Fraser
Dr Kirsty McDougall
Professor Francis Nolan
Erica Thomson

Presented by Rory Bremner

Tuesday, 20 December 2016

Radio 4's 'Something Understood' ponders Is Art Good For Us?

In the latest episode of BBC Radio 4's Something Understood (Sunday 18th December 2016) "the poet Michael Symmons Roberts explores the idea that the arts are good for us - body and soul - and considers whether they can be both tonic and threat to society.
He says, "Art is as various as we are, and its moral weight and status is unstable, unpredictable. In times when people are losing trust in politics and religion, art can start to look like a replacement. But if we put too much of our moral weight and hope into art, we imperil it, and it can imperil us too."
Some of the great Victorian philanthropists thought art would benefit society and used their wealth to make art freely available to the masses. Whether or not the original Turner paintings offered in a Manchester museum,improved the lives of the working class is not evidenced, but the continued idea that the arts are of moral benefit persists.
Roberts offers the example of Ken Loach's groundbreaking film Cathy Come Home as a sign that society can be improved through the arts - along with the way Bob Dylan and others used their music to effect social change in the US during the 1960s.
But he also strikes a note of caution. "The arts can act as the conscience of the state, a challenging force for good. But they can equally be used as an instrument of propaganda. Whenever I hear the arts per se being touted as a positive moral and political force in society, I start to feel uneasy." Using evidence of Nazi propaganda from the Second World War, he also points out that a love of art is not necessarily an indication of a healthy morality.
Roberts concludes that art is not per se a good thing for us, but that he 'couldn't imagine, and wouldn't want to, a life without music or poetry or films or paintings'."

http://www.bbc.co.uk/programmes/b08557zj

Wednesday, 30 September 2015

The Art of Walking into Doors on Radio 4

This fascinating radio programme investigates whether dyspraxic and dyslexic students draw in a different way to others.

"Pablo Picasso, Andy Warhol, Leonardo da Vinci...all of them, it's said, were dyslexic. But was there any connection between that and their work? Chris Ledgard visits the Royal College of Art in London, where he explores the relationship between dyslexia and dyspraxia, and students' ability to draw."

http://bbc.in/1KujXDP

Thursday, 12 February 2015

Magnificent Obsessions on Front Row

I have a fascination with, and am attracted to collections. The psychology of collecting interests me, as well as the method of displays.


Damien Hirst, Birds display



 Danh Vo I M U U R 2, 2013 (detail)


The new exhibition, Magnificent Obsessions at the Barbican in London is featured on the BBC Radio 4 programme, Front Row. The exhibition focuses on the artist as collector. Many post-war and contemporary artists are represented, including the possessions of Howard Hodgkin, Edmund de Waal, Damien Hirst and Peter Blake. The show's curator Lydia Yee gives John Wilson a personal tour.


Edmund de Waal from the collection of a private man, 2011



Sol LeWitt, Autobiography, 1980


Featured on the BBC Radio 4 programme, Front Row, 11th February http://www.bbc.co.uk/programmes/b051s2m1


Tuesday, 25 November 2014

Art School, Smart School on BBC Radio 4

This pertinent radio programme addresses some of the current challenges to face Universities, and Art Schools in particular.

'British art schools have produced some of the world's most successful artists, designers, filmmakers and musicians. Britain has built up a strong reputation for creativity around the world and politicians are interested in capitalising on our creative brand.

Brian Eno was at art school at a particularly exciting time. In the sixties, art colleges were independent and experimental; students were challenged to rethink what art and art education were about. Brian relates his memories of Ipswich College of Art under the radical educationalist Roy Ascot, and reflects on the importance of this experience. But he also sounds a warning note - he says art schools are under huge pressures and the effects are threatening creativity.

This programme brings together artists, musicians, art tutors and archive recordings to explore the last half century of art education and the state of Britain's art schools today.

We hear the perspectives of high profile figures in art and design - Grayson Perry, Richard Wentworth, Eileen Cooper, Peter Kindersley, and Jay Osgerby to name a few.

Britain depends on its art schools if it's to sustain its reputation for creativity. But are art schools becoming too much like universities and excluding those very people who will produce the innovations of the future?'

http://www.bbc.co.uk/programmes/b04pr1w2

Friday, 25 October 2013

The Reith Lectures: Grayson Perry: Playing to the Gallery

In this episode, artist Grayson Perry asks whether it is really true that anything can be art.

He draws upon different theorists to ponder what art is.

Philosopher George Dickie said an artwork is “a candidate for contemplation or appreciation.”

Arthur Danto, another philosopher, said an artwork is about something, has a point of view,  and it uses rhetorical ellipsis - i.e. that it engages the audience to sort of
fill in the gaps. So call and response; you know you have to respond to the
artwork.

Danto also said, it needs an art historical context. This is a kind of institutional definition of art. It needs to be in the context where you might find art  .



We live in an age when many contemporary artists follow the example of Marcel Duchamp, who famously declared that a urinal was a work of art. It sometimes seems that anything qualifies, from a pile of sweets on a gallery floor to an Oscar-winning actress asleep in a box. How does the ordinary art lover decide?



In a lecture delivered amidst the Victorian splendour of St. George's Hall in Liverpool, Perry analyses the common tests to help determine whether something is art.

1. is it in a gallery or an art context?

2.  is it a boring version of something else?

3. is it made by an artist?

4. photography

5. limited edition test -  if something is endless, it’s giving away part of its qualification as art. 

6. the people that are around looking at it

7. The "rubbish dump test". “Throw it onto a rubbish dump. And if people walking by notice that it’s there and say “Oh what’s that artwork doing on that rubbish dump”, it’s art.

8. Art is able to detain and suspend us in a state of frustration and ambivalence and
to make us pause and think rather than simply react.

He concludes that in his opinion, the quality most valued in the art world is seriousness.

To listen to the Reith Lecture and find out more information, please visit

http://www.bbc.co.uk/programmes/galleries/p01j9rwb

Saturday, 19 October 2013

A couple of recommendations for your ears

There have been some excellent arts radio programmes recently, and so here are a couple of recommendations.

Democracy Has Bad Taste

BBC Radio 4
Tuesday 16th October 

The Reith Lectures,

Grayson Perry: Playing to the Gallery: 2013

In the first of four lectures, recorded in front of an audience at Tate Modern in London, the artist Grayson Perry reflects on the idea of quality and examines who and what defines what we see and value as art. He argues that there is no empirical way to judge quality in art. Instead the validation of quality rests in the hands of a tightknit group of people at the heart of the art world including curators, dealers, collectors and critics who decide in the end what ends up in galleries and museums. Often the last to have a say are the public.

Perry examines the words and language that have developed around art critique, including what he sees as the growing tendency to over-intellectualise the response to art. He analyses the art market and quotes - with some irony - an insider who says that certain colours sell better than others. He queries whether familiarity makes us like certain artworks more, and encourages the public to learn to appreciate different forms of art through exploration and open-mindedness.

Perry was awarded the Turner Prize in 2003, and is known for his ceramic works, printmaking, drawing, sculpture and tapestry as well as for his cross-dressing and alter-ego, Claire.



A masterpiece in a primary school classroom; 

Front Row

BBC Radio 4

Thursday 17th October

In this Front Row episode Mark Lawson visits a Luton primary school, as the children get to see a Frank Auerbach painting, on loan for the day. The work came from the Ben Uri Gallery as part of the Masterpieces in Schools programme, a partnership between the Public Catalogue Foundation and BBC Learning. Mark joins the children as they prepare to see a masterpiece first-hand, many of them for the very first time, and hears their thoughts about Auerbach's Mornington Crescent, Summer Morning II.


Wednesday, 21 November 2012

Start the Week - BBC Radio 4 - Art and Design with Antony Gormley, Christopher Frayling, Sarah Teasley and Ron Arad

Andrew Marr explores how Britain trains the artists and designers of the future.

Christopher Frayling and Sarah Teasley celebrate the 175th anniversary of the Royal College of Art, the world's oldest art and design school.

But one of its former teachers, the industrial designer Ron Arad argues for a broader arts education which doesn't split sculpture from painting, architecture from design.

And the artist Antony Gormley redefines the limits of sculpture and building.

http://www.bbc.co.uk/programmes/b01nx5jv