Articles

Communal Experimentalism in the Sixties: The Pulsa Group

Serge Tcherepnin, brainwave experiments at Harmony Ranch, 1970

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.

Interview with Daniel Spreadbury of Dorico

Dorico-5

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.

Manifesting Community in Early Minimalism

Steel discs

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.

In The Absence of Money

cash-dream

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?

Roundtable: Facing the Hard Questions

Lisa Bielawa

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.

Roundtable: Let’s Make a List

Alex Shapiro

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.

Roundtable: The Bonnie Jones Grant

Bonnie Jones

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”?

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