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Gandhiji's spectacles and their case (Nos. 10 & 11) as seen in the display of his 11 worldly remains at Gandhi Smitri
India, travel
The walking cane found in the display of Gandhiji's 11 worldly remains at Gandhi Smitri
Travis Just and Object Collection
Travis Just (compostion, electronics, woodwinds, objects) Kara Feely (voice, recordings, objects) James Moore (guitar) Devin Maxwell (percussion, inside piano) Aaron Meicht (trumpets, electronics)
Music by composer Travis Just performed by the experimental ensemble Object Collection. 

Dia Foundation Announces Plan to Open a New Space in Chelsea

Philippe Vergne, the director of the Dia Art Foundation, announced today that the foundation will construct a new building in Chelsea for “a reinvigorated New York City program.” The building will be located at 545 West Twenty-second Street, on the footprint of the building that Dia currently owns. A press release from Dia notes, “In keeping with the organization’s historical commitment to in-depth support of ambitious projects, the space will provide a New York City location for commissioned artworks.” It will also house long-term exhibitions, performances, and public programs––including readings, lectures, and symposia.

The decision to open a new site follows Dia’s closing of its former New York City space, which was in need of “substantial renovation and was found to be inadequate for Dia’s programming needs.” Early planning for the building has begun, and the architecture and scale of the edifice––which “will provide a utilitarian space designed for the experience of art”––are being determined. The project represents the first time in its thirty-five year history that Dia has elected to construct a new building, rather than to reuse an existing one.

Vergne, working in collaboration with Dia’s staff and in dialogue with its board, is conceptualizing the artistic and architectural program for the new space, which “will provide flexible conditions in which artists across generations, disciplines, and cultures and experiment and produce new works.” In the press release, he states, “By establishing this site in Chelsea, Dia reaffirms and deepens its commitment to artists and their vision, as well as to New York City. Dia:Chelsea will facilitate the creation and presentation of new works, new ideas, and new discourse.” Dia chairman Nathalie de Gunzburg states, “The vision that Philippe has articulated for Dia’s New York City space has galvanized the board of trustees, and we have embraced this major initiative with enthusiasm. We are thrilled to support Dia in providing artists with a new platform for in-depth exploration and innovation.”
Suzanne's memorial at St. Ann's was a truly extraordinary event. Despite being 3 1/2 hours long, there wasn't a single moment that felt unessential. Below is a short video I shot with my Flip UltraHD during sound check, several images taken with my iPhone, and  scans of the program. I and 9 other trombonists started things off with Fredric Rzewski's 1969 piece Last Judgment (for solo trombone or several echoing trombones not quite in unison). There's a separate post with the players listed and an mp3 of the actual performance.
Musicians during sound check
(l to r: Zach Layton (gtr), Audrey Chen (vcl), Marc Ribot (gtr), Henry Grimes (violin), Aki Onda (tapes), Mary Halverson (gtr)
Anthony Coleman pre-show

7x7 Trombone Band playing Rzewski
Sarah Fiol (middle) receiving the "Suzanne Fiol Day in Brooklyn, USA" proclamation from a representative of Borough President Markowitz's office


A performance of Fredric Rzewski's 1969 work Last Judgment - for solo trombone or several echoing trombones not quite in unison by Chris McIntyre's 7X7 Trombone Band and Friends during In Memory of Suzanne Fiol at St. Ann's Church, Brooklyn, NY on Nov. 15, 2009.

Audience right (front to back):
Chris McIntyre
Brian Drye
Jen Baker
Stephen Swell
Peter Zummo

Audience left (front to back):
James Rogers
Deborah Weisz
Ben Gerstein
William Lang
Monique Buzzarté

Images and video from the event here...

A shaped stone (possibly for knife sharpening?) found in the display of Gandhiji's 11 worldly remains at Gandhi Smitri
India, non-site
After an incredibly challenging process and satisfying TILT Brass show on the previous evening, I was very excited to witness the inspired resurrection of the Italian Futurist Luigi Russolo's Intonarumori (Noise Intoners) instruments at Town Hall. 13 composers were (enviably) asked to compose new works for the 16-piece Intonarumori, several of whom are close colleagues including Joan La Barbara, Jenny Walshe (w/ Tony Conrad), James Fei, Elliott Sharp, and Nick Hallett. The Magik*Magik Orchestra traveled from the Bay Area to offer their totally committed, engaging performance of these works, all under the steadfast and cheerful guidance of conductor (and composer of one of the evenings most compelling scores) Luciano Chessa. As I told some friends and Maestro Chessa himself, this was a capital "I" important event on the New York calendar. Beyond the sublime answer to the curiosity around what these infamous things sound like, the evenings importance was supported by the shear number of NYC musical avant garde Illuminati in attendance. It was quite a hang next door afterward!

I have one complaint that had nothing to do with the performance itself, but made me very uncharacteristically angry. First, a heartfelt thanks to Performa for having the will and follow through to make this show happen. Many local presenters should take serious note of your boldness in this regard. However, it was a major oversight to not list the members of the Magik*Magik Orchestra in either the printed program or on the event page of their website. This is totally unacceptable! These people poured their spirit and musicality into this music and the absolute least that should be done is recognize them in print. Obviously, my perspective on this skews toward the performing musicians, but regardless of your station in the hierarchy of presenting this event, failing to give them proper credit is shameful and tone deaf to the musical art form.

...and I really love what you are doing Performa!


A set of table wear made of wood (except, of course the knife blade) found in the display of Gandhiji's 11 worldly remains at Gandhi Smitri
From Wikipedia, the free encyclopedia

In gemology, chatoyancy (pronounced /ʃəˈtɔɪənsiː/, shə-TOY-ən-see), or chatoyance, is an optical reflectance effect seen in certain gemstones. Coined from the French "œil de chat," meaning "cat's eye," chatoyancy arises either from the fibrous structure of a material, as in tiger eye quartz, or from fibrous inclusions or cavities within the stone, as in cat's eye chrysoberyl. The effect can be likened to the sheen off a spool of silk: The luminous streak of reflected light is always perpendicular to the direction of the fibres. For a gemstone to show this effect best it must be cut en cabochon, with the fibers or fibrous structures parallel to the base of the finished stone. Faceted stones are less likely to show the effect well.

Gem species known for this phenomenon include the aforementioned quartz, chrysoberyl, beryl (especially var. aquamarine), tourmaline, apatite, moonstone and scapolite. Glass optical cable can also display chatoyancy if properly cut, and has become a popular decorative material in a variety of vivid colors.