Industry muted, architecture diminished—Daisy Atterbury dips into the quietly dreamlike world of Brazilian Photographer Tuca Vieira’s nocturnal Berlin.
On the occasion of the Yale Review’s centennial celebration, Daisy Atterbury talks literary giants with J.D. McClatchy, editor of the literary institution.
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.