
Out in the Great Alone. Brian Phillips (@runofplay) makes feature writing look easy, somehow. Good stuff. Previously, at Wimbledon.

Out in the Great Alone. Brian Phillips (@runofplay) makes feature writing look easy, somehow. Good stuff. Previously, at Wimbledon.
Alex Ross writes about the life and music of John Luther Adams.
Adams is an avid art-viewer, and is particularly keen on the second generation of American abstract painters: Frank Stella, Ellsworth Kelly, Jasper Johns, and Joan Mitchell. There are more art books than music books on the shelves of his studio, a neat one-room cabin that faces south, toward the Alaska Range.
Adams says, ÄúI remember thinking, To hell with classical music. IÄôm going into the art world; IÄôm going to do installations. But I was really just interested in working with new media. And it doesnÄôt matter what I think IÄôm doing. The work has a life of its own, and IÄôm just along for the ride. Richard Serra talks about the point at which all your influences are assimilated and then your work can come out of the work.Äù
One of Adams’ experimental works is a room that generates the music based on external happenings.
The mechanism of ÄúThe PlaceÄù translates raw data into music: information from seismological, meteorological, and geomagnetic stations in various parts of Alaska is fed into a computer and transformed into an intricate, vibrantly colored field of electronic sound.
ÄúThe PlaceÄù occupies a small white-walled room on the museumÄôs second floor. You sit on a bench before five glass panels, which change color according to the time of day and the season. What you notice first is a dense, organlike sonority, which Adams has named the Day Choir. Its notes follow the contour of the natural harmonic seriesÄîthe rainbow of overtones that emanate from a vibrating stringÄîand have the brightness of music in a major key. In overcast weather, the harmonies are relatively narrow in range; when the sun comes out, they stretch across four octaves. After the sun goes down, a darker, moodier set of chords, the Night Choir, moves to the forefront. The moon is audible as a narrow sliver of noise. Pulsating patterns in the bass, which Adams calls Earth Drums, are activated by small earthquakes and other seismic events around Alaska. And shimmering sounds in the extreme registers—the Aurora Bells—are tied to the fluctuations in the magnetic field that cause the Northern Lights.
I’d love to check that out.
The Carter Center is hosting a photography exhibit by Robert Glenn Ketchum. Several dozen of his large-format prints are on display, and Mr. Ketchum himself will be at the Carter Center this Thursday night to talk about his photography of southwest Alaska.