Industry muted, architecture diminished—Daisy Atterbury dips into the quietly dreamlike world of Brazilian Photographer Tuca Vieira’s nocturnal Berlin.

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On the occasion of the Yale Review’s centennial celebration, Daisy Atterbury talks literary giants with J.D. McClatchy, editor of the literary institution.

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Electroacoustic composer Martin Messier talks about his new piece Sewing Machine Orchestra, his musical beginnings, and how he creates new sounds with old Singers.

“When I hear what we call music, it seems to me that someone is talking. And talking about his feelings, or about his ideas of relationships. But when I hear the sound of traffic, here on 6th avenue for instance, I don’t have the feeling that anyone is talking. I have the feeling that sound is acting [. . .]. I don’t want a sound to pretend that it’s a bucket, or that it’s president, or that it’s in love with another sound. I just want it to be a sound.” —John Cage, New York, 1991

Martin Messier produces in Sewing Machine Orchestra the acoustic noises picked up by eight 1940s Singer Sewing Machines. A computer synthesizes the sound and allows Messier to control rhythm and amplification. Speakers then project sound that is unaltered and unprocessed.

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