The secrets are boxed within. That’s what I thought two years ago in Quezon City, where I was doing research at the University of the Philippines Center for Ethnomusicology.
The two musicians converse about their working-class upbringing, the elitism of the avant-garde, and the politics of goofiness.
An experimental theater company takes on Edward Albee.
The percussionist combines martial arts, herbalism, acupuncture, and technology to concoct a healing potion equal parts ancient tradition and pioneering experimentation.
“Activism always involves a kind of coalition building, but the kind of community art is capable of building extends further, to the dead and the unborn.”
With I Had Nowhere to Go, director Douglas Gordon brings the diary of filmmaker and poet Jonas Mekas into contact with our own reveries.
“I think that creative improvisation music models the democratic principle. Heads of state and legislative bodies could learn a lot from this practice.”
Words Without Music is a sustained performance with fascinating scenes and a lucid text.
Dawn in Manhattan. In the first, tentative light, a black prostitute is walking back to her room after a night’s work.
Duo improvisation for loop pedal, upright bass, and child.
The iconoclastic composer discusses his newest opera, the differences between American and European music culture, and space aliens.
The virtuoso jazz guitarist on unhinged sonic excursions.
There are many artistic modernisms. There are alternative modernisms, alternatives to modernism, and antimodernisms.
Thom Donovan and Brandon Brown dive deep into the realms of literary theory and leftist politics in their epistolary exchange. They continue their conversation in the fourth of four exchanges.
Thom Donovan and Brandon Brown continue to dive deep into the realms of literary theory and leftist politics in their epistolary exchange. In the second of several dialogues, they delve into the archive of the unknown.
Poets Anne Waldman and Frances Richard discuss their careers, new work, and life at the forefront of the poetic avant-garde. Or, as Waldman calls it, “the avant-derriere.”