Katie uses her interview with Broadway dancer, Ixchel Cuellar (Mean Girls, Finding Neverland, Hamilton) to explore stage presence and the plethora of "dance shows" on Broadway today.
One spring day in 1840, on the bank of Goose Pond in Massachusetts—not far from Walden Pond, where Henry David Thoreau would make his stand—Ralph Waldo Emerson and the poet Jones Very were admiring the interplay of wind and water. “I declare this world is so beautiful that I can hardly believe it exists,” Emerson was moved to say....
"From his essential dullness,, his useless, worn-out gestures, his equivocal, tenacious desires, his 'nowhere,' his walled-in yearning to communicate, his continuous laughable travels, his raising his shoulders like a hungry ape, his conventional, fearful laughter, his impoverished litany of passions ..." Or as The Beatles sang it, "He's a real nowhere man ..."
To an AI model, a picture is data, sound and music are data, as is traditional spoken or written language. That data is translatable, interchangeable, and, most importantly, linkable and actionable. That means that video, music, sound, movement, image can interact in common language.
Paul Kassel, Dean of the College of Visual and Performing Arts at Northern Illinois University, talks about collaborating with the arts ecosystem of a city.
The overwhelming number of comics, little magazines, books, posters, and all sorts of poetry and radical literature that Charles Plymell has printed during the last half-century is too many to count. All that time he was writing inspired poetry and prose of his own and having it published by a flock of small presses. Now in old age — he turns 89 today — Plymell is getting significantly renewed attention for his poetry with the release of "Over the Stage of Kansas: New & Selected Poems 1966-2023." To celebrate the book, he will give a reading on May 18 in Hudson, New York. It's bound to be a grand occasion.
We’re celebrating National Poetry Month with 2021 NEA Literature Fellow and poet Leslie Sainz who discusses her debut poetry collection, “Have You Been Long Enough at Table.” Sainz reads from her collection and talks about its major themes including the ambiguity, displacement, and impact of cultural heritage as a daughter of Cuban immigrants. She discusses the variety of poetic...
Since today is the 120th anniversary of Willem de Kooning's birthday, I am reminded by my staff of thousands of his fervent efforts "to break the willed articulation of the image." Which, as it happens, is not dissimilar to the goal of the cut-up procedure in writing, intended by Brion Gysin and William Burroughs to free the mind and language itself from preconceived formulations. Nor is it a bad follow-up to yesterday's blogpost about "Cut Up or Shut Up."
Kevin Ring, the indefatigable editor of Beat Scene magazine, emailed me a few months ago to ask about the new reprint of "Cut Up or Shut Up" released by the German publisher Mokolo Print in a facsimile edition in English with a new cover design by Robert Schalinski and a modest intro by yours truly. Ever curious about all things Beat, Ring wanted to know the back story of the book's origin and development. Et voilà!
Before I needed to earn a living from writing, I was a member of the avant-garde — fervent and full of high opinion. The other day I came across a typescript of "Synchronic Non-Causative Agent," an unpublished paper of mine written more than half a century ago. Reading it over, I got the bright idea of posting here despite its age.
Leah Lowe, Professor of Theatre and Director of the Curb Center for Art, Enterprise and Public Policy at Vanderbilt University, talks about the ability for theatre to impact environmental activism.
