[re:con]versations :: OF SOUND MIND :: process and practice with IMPROPER MAPS' Alex Crowley
[line] [box] [quote] In 2016 The Operating System initiated the project of publishing print documents from musicians and composers, beginning with Everybody’s Automat and this year’s chapbook series, all of which fall under the OF SOUND MIND moniker, and all of which are written by
[re:con]versations :: OF SOUND MIND :: process and practice with ANY SEAM OR NEEDLEWORK's Stanford Cheung
[line] [box] [quote] In 2016 The Operating System initiated the project of publishing print documents from musicians and composers, beginning with Everybody’s Automat and this year’s chapbook series, all of which fall under the OF SOUND MIND moniker, and all of which are written by
[re:con]versations :: OF SOUND MIND :: process and practice with CHORDS' Peter Longofono
[line] [box] [quote] In 2016 The Operating System initiated the project of publishing print documents from musicians and composers, beginning with Everybody’s Automat and this year’s chapbook series, all of which fall under the OF SOUND MIND moniker, and all of which are written by
[re:con]versations :: OF SOUND MIND :: process and practice with WHILE LISTENING's Alaina Ferris
[line] [box] [quote] In 2016 The Operating System initiated the project of publishing print documents from musicians and composers, beginning with Everybody’s Automat and this year’s chapbook series, all of which fall under the OF SOUND MIND moniker, and all of which are written by
[re:con]versations :: OF SOUND MIND :: Process and Practice with Everybody's Automat's Mark Gurarie
[line] [box] [quote] In 2016 The Operating System initiated the project of publishing print documents from musicians and composers, beginning with Everybody’s Automat and this year’s chapbook series, all of which fall under the OF SOUND MIND moniker, and all of which are written
[RE:CON]VERSATIONS :: THERE MIGHT BE OTHERS :: Choreographer Rebecca Lazier and Composer Dan Trueman
[box][articlequote]Seminal works of the avant-garde become so when the inherent risk at the heart of the experiment catalyzing the vision to its fruition pushes the work’s sphere of influence beyond its original form and often its intended meaning. Intrepid choreographer