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This is an exclusive song premiere, part of The ARTery s effort to highlight ascending New England musicians.
Does the modest perennial that grows from the cracks in the sidewalk possess any less beauty than a towering redwood?
Boston pianist and composer Ben Cosgrove urges you to consider the equality of the natural world on the static tinkling of his sparse new single “The Machine in the Garden,” an impressionistic ode to the life that grows between the urban cracks. It’s the first song released from his forthcoming album “The Trouble With Wilderness,” due April 16.
As gleaned from his previous releases, like 2017’s “Salt,” the work requires context. A solo-piano composer and self-described “singer-songwriter who doesn’t sing,” Cosgrove works solely in abstracts, using minimalism and deeper concepts to paint portraits with a soft, muted palette. For instance, “The Machine in the Garden” is a borrowed title from a piece of 1960s literary criticism by Le
Figure 5 –
Nature in a Box:
A Cure for Wellness, and 1.66:1
This brings us back to Bozelli’s comments with which this article began. The digital reconstruction of an aspect ratio that emerged in the 1950s, but has been used sparingly since, demands consideration of its particular qualities and features. In the 1950s, the coming of Cinerama and CinemaScope led Paramount to develop VistaVision and the 1.66:1 ratio, which was initially marketed as a taller and “more comfortable viewing experience.”
[21] Supposedly, it allowed filmmakers to compose images with a greater deal of control and resulted in fewer distractions for the audience than did the comparatively extreme width of CinemaScope. Bazin, for instance, although describing the 1.85:1 version of VistaVision, considered it “spectacular enough to satisfy the eye, yet still rational enough to satisfy the mind.”