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Have you ever dreamt of being in a band? Or do you miss the feeling of getting lost in music with others around? Enter The Adjacent Possible, in which 20 people are invited to gather online in a guided musical improvisation. While this might sound intimidating to those of us who don’t consider ourselves musicians, the project’s creators assure us that anyone can participate.
Before the coronavirus pandemic, artist and musician Joshua-Michéle Ross conceived of The Adjacent Possible as a physical performance. But like most everything, it has adapted into a virtual experience thanks to a collaboration with Adam Brick and Adam Lucas. And the project is likely to serve a deeper need now — offering an outlet for people to create and connect with one another across the globe.
So, how does it work? First, you can relax and show up in your sweatpants, because there will be no video involved. At the start of your 45-minute session, you’ll have the opportunity to pick your instrument in a “virtual rehearsal room.” From there, your conductor will show you all the ways you can use your instrument before everyone dives into making blissful music.
The Adjacent Possible is currently being hosted for free, between now and May, by the Grand Central Art Center in Santa Ana, California. In an email, the space’s director and chief curator, John D. Spiak, articulated the freeing effect of being an anonymous musician: “The Adjacent Possible was 45-minutes free of the anxieties often associated with improvisational performance among strangers, replacing it instead with a meditative, relaxing outcome.”
Where: online via the Grand Central Art Center
More info at the Adjacent Possible
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he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
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Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
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The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…