Literary Audio

29 December 2014 in Heather, Writing

In 2014, I tried my hand at audio journalism, editing several pieces on music and new media. Highlights included one-on-one interviews with impresarios, composers, and music directors: — A profile with Chris Rountree, artistic director of wildUp — Behind the scenes at REDCAT, including a post-performance interview with David Rosenboom — Looking back on Invisible Cities with Yuval Sharon, artistic director of The Industry — Contemplating astronomy, data visualization, and music composition at Pasadena’s AxS Festival These pieces reflect my passion for investigating the praxes of media arts on the West Coast.

Ghosts at the Redcat

3 November 2014 in Music

The Redcat stage looked like a jungle: gongs hung from stands, electronic cables snaked between the legs of snare drums, and groups of instruments claimed distinct territories amidst the mess. Eight tablas waited on a makeshift altar at center stage, perhaps soon to be sacrificed. Percussionist William Winant entered the fray fearlessly, while David Rosenboom, composer and electronics virtuoso, presided over the performance from his computer downstage right. Zones of Influence is one of David Rosenboom’s most complex compositions, written for percussion instruments and electronics in 1984 and 1985. He had Winant in mind for the percussion part from the beginning. Rosenboom’s concept for the interactive nature of the electronics was so far ahead of its time that it took
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On Xenakis

20 October 2014 in Heather, Music

I remember how I held my breath as my dad pounded each nail halfway into the square piece of wood we’d covered in black felt. I watched as two nails became three, then five, then eight, until the last completed a perfect circle. Dad handed me the board and I returned to my desk to consult my math book, which described how to wind string from nail to nail at measured intervals around the circle. The lines of string began to create a web around the perimeter of an inchoate circle, this one hovering magically in the center of the board over the black felt. I repeated the process twice more, using different colors of string to mark intervals of
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Art Is

2 October 2014 in Heather, Theater, Writing

You could park a big ol’ Cadillac inside Grandma’s walk-in pantry. To a child, the great windowless room stocked with jams and sauces and pickles and puddings was nothing less than a theater. The rows of metal shelving parsed the space into my very own backstage, wings, proscenium, and house. And on a shelf at the back, below the neatly indexed cake mixes, rested a simple cardboard box— the costume box. The pantry became an escape from chores—from pulling weeds, picking green beans, and hanging laundry on the line. Grandma, perhaps knowing the futility of wringing work out of a girl on Christmas or spring break, would allow me to spend hours playing dress-up. I made tiaras out of tinfoil
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The Week in Curation 1

2 August 2014 in Film, Music

Cinema : Paolo Sorrentino, This Must Be The Place Composer/Performer : Colin Stetson Composer/Performer : Arthur Russell Journalism : Rebecca Mead, Musical Gold Website : The New Inquiry  

Finally, Weirdness

7 January 2014 in Music

It was the weirdest concert I’ve been to since moving to Los Angeles eight months ago, and for that I was delighted. I had no idea what to expect; I’d never heard of Chris Newman, and it seemed odd that the Monday Evening Concerts (known for adventurous, contemporary programs) had paired him up with Beethoven. Good old-fashioned Beethoven. The first piece on the program proved to be the thread: the piano part of Newman’s Weird Words in a Language which we Understand takes (according to Newman’s own program note) “a diagonal single line through Beethoven’s Fifth Symphony.” The familiar eighth-note motive—fate rapping on a door—here abstracts and exhausts itself. As the pianist knocks around (first suggesting this key, then hinting
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