Jesse Langen and Sivan Cohen Elias
Guitarist Jesse Langen sits down with composer and interdisciplinary artist Sivan Cohen Elias to discuss the role of communication, the process of creation, and, of course, many legged monsters.
by Eli Namay
In the last installment of Imploding Signs, Eli shares his zine "On Cultural Struggle: Artistic Militance and the Abolition of Value" to break down how his analysis of symbolic violence functions influence his artistic practices.
by Max Erwin
Max Erwin engages with and responds to Owen Davis' new music development diagram. "The problem with personal goals is that they risk becoming more than personal."
by Owen Davis
There is this quote that I found recently, I tweeted it, but I do not know the author, “…finding ways to find out things that I didn’t know.”
by Mark Mahoney
Mark Mahoney engages with the second annual Civic Orchestra Composers Project.
by Michael Lewanski
Jacques Attali, in the inconclusive final chapter of his book Noise: The Political Economy of Music, 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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by Emily Kerski
Reader Submission on ZINC & Wolftone at Slate Arts.
by Luis Fernando Amaya
Luis Fernando Amaya discusses his intentions behind the use of the screen in Tinta Roja, Tinta Negra / Red Ink, Black Ink.
A monthly column about the future, and you.