The Danish poet on corporeal poetics, pregnancy, and the influence of classical music.
Female intelligence and female obsession, in the air
Two improvisers and composers discuss their involvement in New York’s experimental music scene.
On a crisp morning in March, we approach the site. It appears in the distance on the windswept beach just as the sand gives way to dunes. The ocean roars to our right.
Using a hybrid orchestra of military and experimental musicians, the most recent iteration of Marina Rosenfeld’s large-scale composition, Free Exercise, was staged at this year’s La Biennale de Montréal.
I’ve been working with the concept of remixing my own classical compositions for a number of years.
The artist and composer stages her latest entanglement of bodies, spaces, and sounds at the Biennale de Montréal this October.
Whether you’re drawing a straight line or zig-zagging through the history of American Minimalist music, there is one person you’re bound to meet.
“I think that creative improvisation music models the democratic principle. Heads of state and legislative bodies could learn a lot from this practice.”
“It’s like bouncing ideas back and forth with a friend, but the friend is you.”
“Asymmetry is part of what makes us human, and it’s what makes our actions feel human. And we only know that because we can have a programmer make something play ‘perfectly,’ and it sounds terrible.”
“The records I don’t listen to are as important as the ones I do.”
“Everyone comes together, then they just go to sleep. It’s an anti-rave.”
“I do like feedback. It’s good for people. It is!”
Words Without Music is a sustained performance with fascinating scenes and a lucid text.
Architectural space, intermedia, and the artistry of kinesis.