Michael Stipe Is Writing His Next Act. Slowly. | The New York Times
How do you reinvent yourself after being a global superstar? The former R.E.M. frontman is still figuring that out.
Michael Stipe Is Writing His Next Act. Slowly. | The New York Times
How do you reinvent yourself after being a global superstar? The former R.E.M. frontman is still figuring that out.
How “The Kids of Rutherford County” Sets Investigative Reporting to Music | ProPublica
Experimentation was key in creating the score for our four-part narrative podcast series, produced in collaboration with Serial.
Funny you Should Ask | Anne Carson for The New Yorker
It occurs to me I’ve spent too much of my life staring at someone else’s sentences
in a rebar dawn, measuring my insomnia against their
snap-brim
thoughts.
The Enduring Strangeness of Nicolas Cage | The New Yorker
As an artist, he is a great maximalist iconoclast, the Sun Ra of American acting.
Spotify Doesn’t Know Who You Are | The Atlantic
This preoccupation with tweaking the algorithm reflects a belief that it’s saying something meaningful about who we are.
The American Sublime
How does one stand
To behold the sublime,
To confront the mockers,
The mickey mockers
And plated pairs?
When General Jackson
Posed for his statue
He knew how one feels.
Shall a man go barefoot
Blinking and blank?
But how does one feel?
One grows used to the weather,
The landscape and that;
And the sublime comes down
To the spirit itself,
The spirit and space,
The empty spirit
In vacant space.
What wine does one drink?
What bread does one eat?
— Wallace Stevens
It is as great a mistake to think one understands all art as it is to think one understands no art at all. In either case, the presumption is that understanding is the primary condition under which art is experienced. There is, in fact, no reason to believe this is true.