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Prize prize prize prize prize prize prize prize przie

April 20th, 2009 by Colin Rafferty

Steve "Pulitzer Winner" ReichIf you were at our first-ever meeting, then you know the giant super-crush Subrosa has on Steve Reich.  He’s like our Zac Efron plus our Jonas Brothers plus our Miley Cyrus, only with the ability to write his own songs (which might make him our Taylor Swift).

Teen idol comparisons aside, Subrosa’s pleased to see that Reich’s “Double Sextet” won itself a Pulitzer Prize in music. Hot dog! And the fact that said prize winner premiered just down the interstate at the University of Richmond gives the whole thing a lovely Commonwealth spin.

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Back from break, just in time for break

April 18th, 2009 by Colin Rafferty

The eponymous fictive raptor

The eponymous fictive raptor

Last week was a nice break; you can’t be avant-garde all the time.  Sometimes you just want to put aside the Russian Futurists and Op Artists and Musicians Who Set EULAs to Scores and watch a romantic comedy on TBS with Cameron Diaz and Jude Law.

But we’re back.  Our standard meeting will be pre-empted on Monday by the Kemp Symposium, where you’ll have the chance to hear some of the finest ideas the department’s resident geniuses have to offer. And while you’re at KS09, why not drop by Combs 322 at 3 PM to hear Subrosans Rachel Rocklin and Dresden Glover (as well as Serena Epstein) discuss experimental storytelling in various genres? With a title like “The Maltese Fiction,” you know it’s going to be good.

Then we’ll be back a week later for the last (sob!) Subrosa meeting of the year.

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Subrosa poses.

April 5th, 2009 by Colin Rafferty

Coincidence as history

Coincidence as history

Look carefully at this photo (Paris, 1838).  In the bottom left corner, you’ll see a human figure–a man with one leg lifted, getting his shoe shined.

He is the first human being ever to be photographed.

At this time–171 years ago–photography was only able to capture still life.  Landscapes such as the Parisian skyline were popular, but the ten-minute exposure time made it impossible to capture humans.  They just moved too much.   But this fellow–about whom we know literally nothing–held still for 600 seconds in just about the same pose, and entered history.

Photography has shifted dramatically in the last few years, even down to the way we hold a camera (no longer up to our eye).  How has it affected us as viewers of the world?  How, in an age of Photoshop, does the adage “the camera doesn’t lie” still hold true?

Let’s start with Alexander Rodchenko’s 1928 essay “The Paths of Modern Poetry.”  And then let’s go somewhere else with it.

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