Now That The Audience Is Assembled

Following his investigation into experimental music and sound recording in Records Ruin the Landscape, David Grubbs turns his attention to the live performance of improvised music with an altogether different form of writing. Now that the audience is assembled is a book-length prose poem that describes a fictional musical performance during which an unnamed musician improvises the construction of a series of invented instruments before an audience that is alternately contemplative, participatory, disputatious, and asleep. Over the course of this phantasmagorical all-night concert, repeated interruptions take the form of in-depth discussions and musical demonstrations. Both a work of literature and a study of music, Now that the audience is assembled explores the categories of improvised music, solo performance, text scores, instrument building, aesthetic deskilling and reskilling, and the odd fate of the composer in experimental music.

The voice in the headphones says, “you’re rolling” . . . The Voice in the Headphones is an experiment in music writing in the form of a long poem centered on the culture of the recording studio. It describes in intricate, prismatic detail one marathon day in a recording studio during which an unnamed musician struggles to complete a film soundtrack. The book extends the form of Grubbs's previous volume Now that the audience is assembled, sharing its goal of musicalizing the language of writing about music. Mulling the insight that “studio is the absence of pushback”—now that no audience is assembled—The Voice in the Headphones details one musician's strategies for applying the requisite pressure to the proceedings, for making it count. The Voice in the Headphones is both a literary work and a meditation on sound recording, delivered at a moment in which the commercial recording studio shades into oblivion. It draws upon Grubbs's own history of several decades as a recording artist, and its location could be described as every studio in which he has set foot.

John Cage's disdain for records was legendary. He repeatedly spoke of the ways in which recorded music was antithetical to his work. In Records Ruin the Landscape, David Grubbs argues that, following Cage, new genres in experimental and avant-garde music in the 1960s were particularly ill suited to be represented in the form of a recording. These activities include indeterminate music, long-duration minimalism, text scores, happenings, live electronic music, free jazz, and free improvisation. How could these proudly evanescent performance practices have been adequately represented on an LP? In their day, few of these works circulated in recorded form. By contrast, contemporary listeners can encounter this music not only through a flood of LP and CD releases of archival recordings but also in even greater volume through Internet file sharing and online resources. Present-day listeners are coming to know that era's experimental music through the recorded artifacts of composers and musicians who largely disavowed recordings. In Records Ruin the Landscape, Grubbs surveys a musical landscape marked by altered listening practices.

So much has changed about Catholic intellectual life in the half century since the end of the Second Vatican Council that it has become difficult to locate the core concepts that make up the tradition. In the Lógos of Love is a collection of essays that grew out of a 2013 conference on Catholic intellectual life co-sponsored by the University of Dayton and the Institute for Advanced Catholic Studies at the University of Southern California. The essays, written by scholars of theology, history, law, and media studies of religion, trace the history of this intellectual tradition in order to craft new tools for understanding the present day and approaching the future. Each essay explores both the promise of Catholic intellectual life and its various contemporary predicaments. How does a changed media landscape affect the way Catholicism is depicted, and the way its adherents understand and communicate among themselves? What resources can the tradition offer for reflection on new understandings of sexuality and gender? How can and should US Catholic intellectual life embrace and enhance-and introduce students to-the new ways in which Catholicism is becoming a more global tradition? What is the role of scholars in disciplines beyond theology? Of scholars who are not Catholic? Of scholars in universities not sponsored by Catholic religious orders or dioceses? By providing context for and proposing responses to these questions, the scholars invite discussion and reflection from a wide range of readers who have one important thing in common-a stake in sustaining a vibrant, flourishing intellectual tradition.