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    IAF INTERFICTIONS ONLINE INDIEGOGO CAMPAIGN ends above target goal

    Thanks to 277 generous backers for our Interfictions Indiegogo Campaign, we raised $10,318 by the time our campaign ended at midnight, July 14th, 2014.  When we launched on June 3rd, we were staggered to find donations doubling almost daily, until after about 3 weeks we had reached our original target goal of $8,500, and were able to move on to our Stretch Goal of $10,000.

    Which means we not only get to publish Interfictions Online for another year, but we can pay our contributors at higher rates now, rates more in line with the effort and talent that innovation requires. Thank you, each and every one of the 277 generous donors who stepped forward to say that interstitial art is valued and valuable. The number of people is as important as the number of dollars raised. We are awed by your generosity.
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    INTERFICTIONS issue #3 is up online!

    The editors of Interfictions Online are happy to announce the birth of the journal’s latest issue, on May 22, 2014!

    The Spring 2014 issue’s non-fiction offerings include Mark Craddock’s poignant collage in Aerial Acrobatics and Gender Reassignment Surgery – A How-To Guide, while Inda Lauryn’s Parallels and Transitions splices analysis of contemporary female vocalists into a graduate school memoir. Isabel Yap’s Life Is Not a Shoujo Manga speaks for itself. And in an interview with Jeff VanderMeer and Jeremy Zerfoss, the two creators discuss their illustrated guide to writing, Wonderbook.

    The fiction offerings remix tropes from ghosts to automata, with new work by Richard Butner, Su-Yee Lin, Kat Howard, Tade Thompson and S. Craig Renfroe Jr.

    Several of the poems in this issue reimagine older narratives: Sridala Swami’s AI Winter draws on the Mahabharata, Sonya Taaffe’s Double Business on Hamlet, and Mary Alexandra Agner’s Hypothesis Between Your Ribs on the brief life of Charles Darwin’s daughter.

    [...]

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  • Earl Howard and Superstring
    by InterstitialArts | May 9th, 2012 |

    The music of pioneering interstitial composer Earl Howard always surprises,  but also does something not always achieved by experimental music: it engages and often deeply moves the listener.  Earl was awarded a Guggenheim Fellowship in 2011 to create a work that is premiering this upcoming weekend, on Saturday, May 12th, at Roulette in Brooklyn.

    His music is hard to describe (and this from an enthusiastic audience member who has heard him perform many times) because it always changes and is always new.  Like many interstitial artists, Earl has faced an uphill battle for recognition because his music doesn’t fit recognized categories. He recently described it this way: “It’s not a soundscape because it’s not a terrain, not a sound world, either, but more like a crowd. Sometimes you focus on one part, sometimes another, sometimes you are near, sometimes far away, sometimes it is about getting from one space to another.”  Critics sometimes struggle to define it, because it doesn’t move the way written music usually moves. Earl believes they are challenged because “The music does have rhythm and melody, but not in context, nothing resolves itself, structures are continuously morphing. Things relate to themselves, new material comes in because there is no reason why it shouldn’t.”

    His music spans the gamut from solo improvised soprano saxophone to soundscapes for opera to complex multi-instrumental works like Superstrings, his upcoming premiere.  This new work will feature Wu Wei (sheng, erhu), Allan Jaffe (guitar), Miya Masaoka (kotoa) Ernst Reijseger (cello), Mark Dresser (bass), Harris Eisenstadt (percussion), as well as Earl on the Kurzweil K2600.  Earl has gathered these musicians from around the world because they are all skilled in microtonal techniques, have developed methods for playing non-pitched or noisy sounds on their instruments and reconstruct their instruments’ original, traditional voices. In Superstring this group will explore stochastic music, polyrhythmic counterpoint, and melodic curves.

    Although his music is hard to describe, the beauty and excitement it offers is not; the composer maintains that it does not create a world, but I might challenge him on that.  It creates a world where the expectations are different and untraditional, and explorers of new lands are welcome. (As Earl says, it is “very positive music, but relations are not clear—I’m not interested in making sure you know where you are all the time!’)

    If you would like to hear it for yourself, and you are in New York City this weekend, you can come hear the Earl Howard Ensemble at Roulette, 509 Atlantic Ave. (corner of Atlantic and 3rd Ave).

    finish line

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