The second of three essays written by noted historian, author, and educator Karl Cohen to bring awareness to the present state of indie animated shorts and to stimulate a discussion that might lead to improvements; we continue with a discussion of how and why animation made in the U.S. and Europe evolved in such different directions in the second half of the 20th century.
The first of three essays written by noted historian, author, and educator Karl Cohen to bring awareness to the present state of indie animated shorts and to stimulate a discussion that might lead to improvements; we start with a discussion of the ways these shorts have reached the public since the decline of theatrical cartoons.
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ALVIN LUCIER DID THINGS QUIETLY, without fanfare. He made a piece for cello and wind, which I played outdoors at the Mimm’s Ranch amphitheater in Marfa in 2016. I sat maybe a hundred yards off from the listeners, almost out of sight, and the soft sweeping tones of the cello were to be borne back to the listeners by the soft west Texas wind. In place of any explanation or score, Alvin sent me in advance a photocopy, by mail, of the first page of Hermann Broch’s The Death of Virgil. Sounds from the shore of Brundisium, “a sound of life, a hammering or a summons,” are blown by a “soft, scarcely