Sometimes “soundtrack” CDs can invite a degree of skepticism, in that often the music composed for film or video does not stand alone as effectively as when paired with its accompanying medium. However, the second release from Austin, Texas-based composer and sound artist Mike Vernusky is an example of such a format that does not suffer from being presented as audio alone. This is a collection of music composed both for film and “electro-theatre,” defined as music for live actors with electronic sound, which creates a vivid radio play-like journey through sculptural forests of sound.
As we all know, the internet can be a wonderful, amazing thing for a composer, musician, or artist of any sort. But it can also become your very worst enemy, depending on how you use it. I know that for me it has been incredibly useful, and my career would not be close to where it is without it. It has also taken a few years to figure out how to use it in a way that feels comfortable for me.
The current attention to one’s stuff and one’s things is not only about the physical, but also about the virtual.
Concern about the younger generation’s role in the future of the arts has been an issue during the entire history of arts organizations.
By Alexandra Gardner
I am reminded that it is nearly impossible to make anything that isn’t affected by the filters of our personal experience; that somehow reflects our “genealogy of ideas.”