As a group dedicated to exploring “perceptible wave energies” through light and sound, Pulsa created art and music that not only made group collaborations audible and palpable, but they also reminded their audiences and participants—through light and sound—that actions have effects.
Daniel Spreadbury talks about his work in open source and web standards, some of Dorico’s most exciting features for composers, and how Dorico users will benefit from the larger Steinberg ecosystem.
Community is not one of the words typically included in descriptions of minimalism. Indeed, more often than community, minimalism had to do with conflict. But eventual authorial disputes were the result of a long series of close collaborative engagements.
The work of building a career never stops. An all-to-brief encounter with Felicia Day helped R. Andrew Lee adjust his perspective on tackling both the big goals and the mundane chores.
When compensation takes the form of passion and satisfaction, instead of monetary remuneration, what is the impact on performance quality, commitment, and artistic freedom? If we could remove money from the equation by making sure artists get paid enough to do better than get by, what would that look like?
Commissions are not always the best funding model. Some projects are more like entrepreneurial ventures, and as such, they require financial risk-taking and the willingness to take on fiscal as well as artistic accountability.
Money has nothing to do with the quality of anyone’s music. That said, for those who choose to put together a living from composing, there are myriad avenues for monetizing one’s output—which can offer both exciting opportunities and an overwhelming career equation to solve.
Why does it still seem novel when artists talk transparently about the money they make from art or other jobs? I wonder if talking about the very unsexy ways we make a living threatens some myth of the “serious artist”?
In this volatile environment, there’s a piece of economics that can help make sense of what’s going on, help us make better decisions as artists, and even help us make long-term plans.
Music, at its core, is not a rational art. And yet its creation now necessarily happens within systems and societal frameworks evermore marked off, framed, and otherwise governed by the self-proclaimed rationality of Big Data. Sometimes the meeting will be useful; sometimes it will not.