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Author: Jillian Degroot

Danny Clay and Earsight Duo: (idk not really) a review (but more like a re-view or a re-thinking and def a mis-remembering)

by Michael Lewanski

Jacques Attali, in the inconclusive final chapter of his book Noise: The Political Economy of Music[1], writes about composition in a way that is not common; in contrasting it with the mechanism of repetition (i.e., reproduction) that has preceded it in the 20th century, he says composition is (or should be) (or will be) something

in which the musician plays primarily for himself, outside any operationality, spectacle, or accumulation of value; when music, extricating itself from the codes of sacrifice, representation, and repetition, emerges as an activity that is an end in itself, that creates its own code at the same time as the work.

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Cosmological Plants / Corvus Corax / To Speak of Future Delights – Second Annual Festival of Poets Theater: Night 1

by Amelia Ishmael

“If poets theater is a form of sociability, page play, agitpop, or post-dramatic theater,” read the curatorial note handed out before the first performance, “fully distinct disciplinary boundaries have internally divided it as a field, and dispersed our knowledge and the influence of its practitioners.” If theater can be music, choreography can be composition, performance can be sound, and sound can be poetry; but how does one approach hybrids such as motion-poetry and theatrical sounds?… Read More...

Narloch, Sies & Stevenson play Pisaro at Constellation

by Tamas Vilaghy, photos by Jeff Kimmel

The chaos of construction on Western Ave has finally passed Constellation, but the subdued dread of the urban experience has only migrated inside. A modestly-sized but dedicated audience sat in deep contemplation last Sunday as Michael Pisaro’s Concentric Rings in Magnetic Levitation was not so much played as suspended in midair by the trio of Christopher Narloch, Chris Sies, and Isaac Stevenson.… Read More...