Tag Archives: NYPL

March Wrap Up

Charles Ives music study

Dr. Dre’s letter to his wife (then girlfriend) Nicole Threatt about Burning Man, the desert festival which inspired the California Love video.

Speaking of which, the Universal Hip Hop Museum is slotted to open in the Bronx in 2017. Uptown baby!

The Vatican got a scanner. Extremely rare religious manuscripts will soon go online.

“The Guest Cat” made the New York Times Best Sellers list. Way to go indie press New Directions! Publishing since 1936 they have never made it to the list. The publisher thanks a social media embrace set off by a positive NPR review.

Is there room for cursive in 21st Century school curriculum?

NYPL is teaming up with a new startup Zola Books to offer algorithm-based recommendations. Now readers will be pointed to books with similar characteristics instead of what’s popular.

Librarians got real about salaries, in a discussion on Reddit summarized by Bound.

The SXSW Libraries+Archivists+Museums cohort.
8 Ways Oyster Books Can Rule The Subscription Market – written by my publishing savvy brother, Andrew Pantoja.

How Harvard collects vast paper archives, like the one Gore Vidal bequeathed them in 2002.

NYPL and CUNY again must plead with New York state lawmakers to avoid further cuts in 2015, not cool Cuomo.

American composer Charles Ives worked in his study in West Redding, CT in the later years of his life. The study was recently taken apart and moved to the American Academy of Arts and Letters in Washington Heights where it will be displayed for a limited time to the public.

Photo: Charles Ives’s study at the American Academy of Arts and Letters. Taken from my Instagram.
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Merce Cunningham’s Time Capsules

Merce Cunningham Black Mountain

The archives of the Merce Cunningham Trust were recently featured in the literary journal n+1. Cunningham, who died in 2009, was one of the most prominent choreographers and dancers of the 20th century. The Merce Cunningham Dance Company and their archivist David Vaughan faced some interesting challenges in preserving Cunningham’s work. Cunningham’s style kept people guessing. He would try rolling a dice to determine which direction dancers would move their heads or limbs, or map movements giving only sparing instructions to dancers. Cunningham rarely explained or interpreted his work, not even to the dancers with whom he developed the pieces. And, although many dances were documented through photography and film, Cunningham did not make any authoritative choreographic scores.

After Cunningham turned 90 the foundation announced that the Merce Cunningham Trust would establish a “Living Legacy Plan” which included the creation of “Dance Capsules” online, where the trust would have overviews, music from the performance, videos, and any other information available about the performance reported directly from those involved. Interested parties are able to license the “Dance Capsules” to perform with the goal that performances be as close to the intention of the artist as possible. It’s an interesting model for non-profit archives because of the possibility to attract funds while building a legacy around the work. I also think calling these packages “Capsules” is a clever idea.

The archives live at the New York Public Library and The Walker Art Center in Minneapolis. The NYPL finding aid can be viewed here. Images by Hazel Larsen Archer from the archives at NYPL were taken at Black Mountain College.

Merce Cunningham Black Mountain

Merce Cunningham Black Mountain

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