e-flux Journal #144

<p>How many artists and art practitioners have you met who began in music? Maybe visual art offered them some relief from the rigors of musical scale and tonal structure, a broader material and conceptual palette. But what of those who stayed with musical form and sonic language while also testing its limits? Music’s own wildness takes endless forms, from the modern supernatural of recordings and long-range transmissions over air or wire to the synthetic identities promised by the energy injections of new popular sounds. The strange magical or divinatory interests of experimenters and composers have their own occult physics, automations, locutions. In this vein, we are very excited to work with curator Daniel Muzyczuk on the first in a series of issues retracing the weird and winding paths connecting musical and artistic experiments.</p> <p><strong>Editorial</strong><br /> Daniel Muzyczuk</p> <p><strong>Yes, But Is It Edible?</strong><br /> Robert Ashley</p> <p><strong>Throat on Brain: Magic and the Art of Memory in Robert Ashley’s Operas</strong><br /> Michał Libera</p> <p><strong>a voice in my brain rolled up on skeins in cells</strong><br /> Alice Notley in conversation with Daniel Muzyczuk</p> <p><strong>Ten Lessons in Clairaudience</strong><br /> Daniel Muzyczuk</p> <p><strong>On Being Porous</strong><br /> Kimberly Alidio</p> <p><strong>Singing the Zahir Away: Lucier Meets Borges</strong><br /> Alessandro Bosetti</p> <p><strong>Pages Full of Words</strong><br /> Ben Vida</p> <p><strong>Synthetic Exercises</strong><br /> Andrius Arutiunian</p>

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e-flux

Part of: e-flux journal

ISBN: 21641625

ISSN: 21641625

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