The #MPSG24 programme is online including the book of abstracts! Register at the early bird rate and join us in London. https://t.co/KppMK6b4fp

Zeugma of the day "I play on drums and on words"

This is quite amazing news: next SEM conference will be entierly virtual! Finally. Online is not perfect, but WAY more accessible and WAY less exclusive. https://t.co/aO63vxv9Or

Happening Today! Sound, Philosophy & Listening with Amy Cimini, Eldritch Priest & Julian Johnson Join us online

If you missed it, my talk about brackish water, boredom, Burmese harps, Buddhaghosa and other things not starting with B can now be watched on YouTube—thanks to the wonderful team at @MMaPatMemorial https://t.co/62zB1mKiNy

This is an inspiring CFP by Stefanie Heine & @mediumflow at University of Copenhagen "Tangentiality. Passing Relations in the Arts, Literature, Music, and Performance" https://t.co/S1UnFMlCSe

European colonialism is a centuries-long campaign of discrediting knowledge systems and then repackaging them for profit.

A few months in the making... & now finally ready: The Anti-Colonial Research Library hosts 400+ open-access articles and books, websites, YouTube videos on practical examples of Indigenous and anti-colonial research methodologies. Use and share widely!

Since harps operate quite differently from knifes and since techniques of music making differ sharply from techniques of mindfulness, these procedures each fashion very distinct modes of existence.

namely, that it requires tools and techniques of parsing and disentangling to discern and distinguish fundamental entities, categories, and relations. In the musical drama, the tool at hand is not a knife but a musical instrument, the saung gauk (curved harp).

In entangled worlds such as these, where distinctions and categories are not given in advance in the order of things, a basic principle of Abhidhamma thought becomes evident:

The talk sets sail in brackish waters, a zone of elemental indistinction where mangrove swamps interlace land and sea and where heterogeneous domains of clean water and turbid water, nature and culture are quite literally fluid.

This talk navigates the conceptual waters between two texts: the commentarial works on the Theravāda Abhidhamma by fifth-century philosopher Buddhaghosa, and the musical drama U Shin Gyi, Lord of Brackish Waters by librettist Ko Maung Gyi, which was published in 1905.

Delighted & grateful to be able to talk @MMaPatMemorial about Brackish Water, Burmese harps, Buddhaghosa, Boredom and other things that don't begin with B. By Musical Means: Cultural Techniques of Disentangling in Littoral Myanmar Join us online! https://t.co/YR04ggq2kZ

Find the anthropologist/ethnomusicologist! (Artist: Ida Bagus Made Nadera 1919–1998)

The Burmese military sentenced 7 students to death for their anti-coup movement. These young activists stood up for freedom & democracy in Burma, they were falsely accused & didn't receive fair trial. The int'l community must do everything they can to stop these executions.

There is of course precedence for this in Greek mythology: upon seeing herself in the water, Athena threw away her dear Aulos (a double pipe instrument she had invented), being appalled by the deformation of her beautiful face when playing the instrument. Another story by a man.

not just in some revolutionary future that may never come, or in some idealized past that likely never existed or is irretrievably lost, but right here and now” (On Freedom, 2021) Is freedom possible here and now on Twitter?

Maggie Nelson “If we want to divest from the habits of paranoia, despair, and policing that have come to menace and control even the most well intentioned among us…we are going to need methods by which we feel and know that other ways of being are possible…1/2

In Sept @ztsamudzi was excluded from the anthology, Historiker Streiten. I talk about systemic exclusion of poc scholars in German academia for @LeftBerlin “At the current moment in Germany, there is no real interest in tackling decoloniality."