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Changing Expectations: An Interview with Andrea Clearfield

Posted by Jeff Arnal | June 19, 2013

This spring, on the occasion of the Center’s “New Spaces/New Formats” work group, Music Director Bill Adair sat down with Andrea Clearfield—a working musician, composer, curator, and member of the group—to discuss how making and listening to music is changing.

On the topic of changing curatorial models, Clearfield, who has been holding monthly performances in her loft for the past 27 years, had this to say:

This is a multisensory world now. People really respond to diverse programs. They may have come to experience something that they are familiar with and they are hearing and seeing things that are new and I think that that is part of our culture: We are craving the new.

Listen here to an excerpt of Adair and Clearfield’s conversation:

Stay tuned for more details about the “New Spaces/New Formats” pilot project at Christ Church/Neighborhood House in Philadelphia during the last week of September 2013. 

Click here to see a partial list of Clearfield’s research: www.oralliterature.org/collections/kblumenthal001.html

To learn more about Clearfield’s music salon: www.andreaclearfield.com/music-salon/

Andrea Clearfield is an award-winning composer of music for orchestra, chorus, chamber ensembles, dance, and multimedia collaborations. She has been praised by the New York Times for her “graceful tracery and lively, rhythmically vital writing”, the Philadelphia Inquirer for her “compositional wizardry” and “mastery with large choral and instrumental forces”, and by Opera News for her music of “timeless beauty.” Among her widely performed works are 10 cantatas, including one for the Philadelphia Orchestra. Clearfield has been awarded international fellowships from the American Composers Forum at the American Academy in Rome, the Rockefeller Foundation’s Bellagio Center and Civitella Ranieri in Italy and Fundaciòn Valparaiso in Spain. She was recently visiting composer at the University of Chicago, the College of William and Mary, the University of Texas at Austin and the St. Petersburg Conservatory in Russia. She is the pianist in the Relâche Ensemble and the founder and host of the renowned Philadelphia Salon concert series, now completing its 26th year featuring contemporary, classical, jazz, electronic, dance, and world music. For more information, visit www.andreaclearfield.com.

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Labels:  andrea clearfield  ascap  bang on a can  center for performance research  chocolate factory  ibeam  issue project room  le poisson rouge  new spaces new formats  nexus  roulette  vision festival  winter garden 

Braindrop: Sarah Sze

Posted by Peter Nesbett | June 17, 2013

"What a viewer experiences before and after one work is so influential. I think about this all the time. If it’s a group show or a biennial, I’m always interested in who the artists are before and after me, and how people are going to walk through the exhibition space, because it’s always a fluctuating volume of space that you come into."

—Visual artist Sarah Sze, from an interview with The Brooklyn Rail (2010). Sze is currently representing the United States at the Venice Biennale. The Fabric Workshop and Museum will open a major, building-wide installation by Sze in December 2013.

 

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Labels:  braindrop  curating  fabric workshop and museum  sarah sze 

Center Rewind, 6/14/13

Posted by Jordan Shue | June 14, 2013

San Francisco-based marketing strategist Marnie Burke de Guzman talks with us about rich opportunities for marketing and audience engagement in the arts
Donald Nally, conductor of The Crossing, discusses how the disastrous Deepwater Horizon oil spill in the Gulf of Mexico moved him to commission works by three very diverse composers >
Catch Braindrops from composer Pauline Oliveros, writer Julio Cortázar, and scholar and critic bell hooks >
No Idea Is Too Ridiculous project facilitators, consultant Kathy McLean and Performa curator Mark Beasley, discuss barriers to creativity in arts organizations >
Data Garden co-founders Alex Tyson and Joe Patitucci speak with us about the relationships among music, plants and technology >

Image of Data Garden event participants by Inna Spivakova, courtesy of Data Garden.

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Labels:  center rewind 

Talking with Data Garden: Co-composing with Plants

Posted by Jeff Arnal | June 10, 2013

Data Garden received a research grant in 2012 from The Pew Center for Arts & Heritage to explore relationships among music, plants and technology. Co-founders Alex Tyson and Joe Patitucci answered some of our questions about co-composing with plants.

What is Data Garden?

Joe Patitucci: Data Garden is an arts organization and record label making advances in digital music technology and distribution. We encourage the discovery of new electronic music by examining its history, as well as advances in science that made electronic music possible, and by creating spaces (physical and digital) where the electronic music community can engage in dialogue.

What fuels your thinking about music and composition, particularly as it relates to your collaborations with plants?

Alex Tyson: In 2003, I discovered an album of plant-generated music by media artist Mileece Petre, titled Formations. The artist on that record used custom interfaces to interpret signals that were amplified from plant leaves. Further investigations brought me to Richard Lowenberg, who also experimented with plants to produce various electronic media. Lowenberg produced artwork for The Secret Life of Plants film, which is equally inspiring. While researching these projects, Joe and I founded Data Garden. The idea of using plants as a “music delivery system” was appealing . . .


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Braindrop: Julio Cortazar

Posted by Peter Nesbett | June 7, 2013

"Once in a while it happens that I vomit up a bunny...It’s not reason for one to blush and isolate oneself and to walk around keeping one’s mouth shut."

—Argentinian writer Julio Cortázar (1914-1984), from the story "Letter to a Young Lady in Paris"

 

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Labels:  braindrop  writing