We live in an era where some of the guiding principles of the wealthiest individuals in this country are anchored in the philosophy of the Dark Enlightenment—a worldview where democracy is treated as outdated hardware, and human self-governance is dismissed as an obsolete illusion. Alongside this, we have watched technocratic frameworks like Effective Altruism collapse under their own contradictions, proving problematic at best and catastrophic at worst.
Wednesday, June 10, 2026
5:00 – 9:30 pm (EDT)
Manhattan Cruise Terminal
Hosted in celebration of United Nations World Oceans Day and the UN Decade of Ocean Science for Sustainable Development, this gathering will bring together leaders from the United Nations, private sector, youth movements, and civil society to foster collaboration on ocean and climate action.
The evening will spotlight the role of blue innovation and cross-sector partnerships in advancing sustainable ocean solutions, strengthening inclusive governance, and supporting resilient communities as we work toward the UN Sustainable Development Goals. Save the date for an inspiring night of collaboration, dialogue, and connection!
– Hermann Agis, Executive Director, Fulbright Austria
The bike will be launched at the gala on April 11, 2026 as a Limited Edition bike called The Iron Rider Edition.
Sampling is collage is montage. Think about it for a moment. When the film company Kino-Lorber approached me to do a more contemporary score for the fragments of Eisenstein’s 1930 unfinished film “¡Que Viva Mexico!” the first thing I did was research other film scores that had influenced my thinking. Miles Davis’s classic “Ascenseur pour L’echafaud” from 1957, Sergei Prokofiev’s score for Eisenstein’s film “Ivan The Terrible” (1945-1958), Alejandro Jodorowsky’s score for his infamous film “Holy Mountain” (1973) and other more obscure and experimental films like Ennio Morricone’s score for Giulio Petroni’s 1969 film, “Tepepa,” set during the Mexican Revolution. There are so many intangible things that make the film score connect with Eisenstein. To me – collage is montage is assemblage – is dj’ing. The music score I created for “¡Que Viva Mexico!” is a reflection of my own experiences in Mexico and my own insights into how revolutionary cinema acts as a catalyst for social change.
It premieres at Middlebury College
Friday, March 6, 2026
Fusing butoh dance theater, hip-hop mixology, new music, and multimedia,the Vermont premiere of time/life/beauty by Michael Sakamoto and Paul D. Miller (aka DJ Spooky) is inspired by the legacy of famed composer-musician and activist Ryuichi Sakamoto (1952–2023). Inspired by the variety and mystery of Ryuichi’s music, interdisciplinary collaborations, and environmental and anti-war commitments, time/life/beauty looks at the past, present, and future of acute cultural, social, and ecological themes in our historical moment.
From the silence of the void to the canvas of the popular imagination, the cosmos has always called to us. In a new anthology exploring the celestial intersections of art, literature, and interstellar creativity, Paul D. Miller aka DJ Spooky sets the trajectory. He contributes both a visionary introduction and the cover art—crafting the visual threshold for this journey into the stars.
Edited by Doug Barrett and Saskia Vermeylan, this collection charts the influence of space exploration on the creative mind. It arrives as the latest constellation in Routledge’s series, Science and the Arts since 1750.
Stand by: The full roster of contributors and the cover reveal will be announced shortly.
Routledge’s Series Science and the Arts since 1750
(Artwork and contributors will be released shortly)
