Tag: Calm

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Entertainment

Assessment: Kyle Abraham’s Calm Management of Our bodies and House

Review: Kyle Abraham’s Calm Control of Bodies and Space

Not only does snow fall, but snow falls on a calm sea. In its first moments, When We Fell, Kyle Abraham’s new dance film for the New York City Ballet, sets its tone: muted, tuned to melting subtleties.

In interviews, Abraham said that for this film – which will be available on the company’s website and YouTube channel until April 22 – he was aware of the more flamboyant aspects of The Runaway, his 2018 hit for City Ballet , has avoided. He has said that he was instead influenced by the environment in which the new work was done: during a February “bubble” residence in the Hudson Valley, where the silence of the quarantine was heightened by snow.

All of this is evident in the 16-minute work, which includes piano pieces by Morton Feldman and Nico Muhly as replacements for Jason Moran. But because this dance had to be a movie, Abraham’s most important decision may have been to choose a co-director, cinematographer Ryan Marie Helfant. “When We Fell”, shot in 16 mm black and white, is one of the most beautiful dance films of the pandemic.

After the snow and the sea, it positions the dancers in the lobby of the home theater of the City Ballet in Lincoln Center, making use of the clarity and elegance of the place, the geometric floor designs and the balcony work. Unlike many recent dance films, this body establishes and maintains in relation to the space around it. When it comes to a different point of view, the processing is calm, musical and coherent. Even shifts as ostentatious and potentially disoriented as switching between side and top views are absorbed into the calm rhythm of the film.

The most noticeable moment is a transition, a quick assembly of architectural details. This is significant as Abraham’s choreography is also focused on details. As in “The Runaway”, Abraham skillfully combines ballet with other influences, from Merce Cunningham to club dance. But the mixing here is more relaxed, less proving something. Elements that could be rich in contrast, arabesques or body scrolls, are all delivered on the same plane without emphasis – each snowflake registers itself before it merges with the water.

This also applies to the diversity of the eight-person cast: a racial mixture that still cannot be accepted in this or any other ballet company is obvious, but is not emphasized, as is the lack of ballet hierarchies. The main dancers Lauren Lovette and Taylor Stanley (Abraham’s city ballet muse, star of “The Runaway” and the short film “Ces noms que nous portons”) get the final pas de deux, in which some ballet gender conventions are neglected with beautiful certainty . But the soloist Claire Kretzschmar and the corps members India Bradley and Christopher Grant shine equally.

Even one apprentice, KJ Takahashi, stands out in a number of twists that are typical of this work: there is bravado without breaking the contemplative surface, and the tension holds the dullness in check. This is when the dancers have moved onto the stage of the theater and the music – Moran’s “All Hammers and Chains” – is at its wildest. Glissandi chains bubble over low hammer blows. Even so, the dance remains calm.

“When we fell”

Until April 22nd, nycballet.com.

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Business

Inventory Markets Stay Calm, Regardless of Turmoil Elsewhere: Reside Updates

FedEx handled 6.2 million air packages a day last year, an increase of 48 percent over 2016.

Recognition…Hunter Kerhart for the New York Times

Hoping to catch up with the growing demand for fast delivery of goods amid the pandemic, airports are building new hubs for air freight companies.

Since the pandemic began almost a year ago, 15,000 fewer people are arriving and departing from the Cincinnati / Northern Kentucky International Airport, known as CVG, every day. However, the four runways carry a record amount of air cargo – almost 4,000 tons per day. Keith Schneider writes for the New York Times that a new construction project will become the center of Amazon Air’s national air transport network.

The new facility, which is located on 640 hectares along the southern border of the airport, is due to open in the fall. It will offer a 798,000 square meter sorting center, a seven-story parking structure and acres of freshly poured concrete for 20 aircraft.

The new building is a signal of Amazon’s influence as the largest online retailer and its commitment to fast delivery. Both have helped create a wave of air cargo construction at airports across the United States.

  • FedEx, the world’s largest air freight company, has just opened a 50-acre project at Ontario International Airport in Southern California.

  • Ted Stevens Anchorage International Airport, the second largest air cargo airport in the US after Memphis International Airport, is planning new facilities for cargo and parcel handling and sorting worth US $ 500 million.

  • Chicago Rockford International is building a 90,000 square foot cargo facility. As soon as the airport opens in spring, it will start another 100,000 square meter freight project for DB Schenker, Emery Air and Senator International.

“Freight traffic is now driving new demand in airports,” said Rex J. Edwards, industry analyst and vice president of Campbell-Hill Aviation Group, a consulting firm in Northern Virginia. “That’s the development of business now.”

Recognition…Nicholas Albrecht for the New York Times

Of the existing 18.5 million Bitcoin, around 20 percent – currently valued at around $ 140 billion – appear to be in lost or otherwise stranded wallets, according to cryptocurrency data company Chainalysis. Wallet Recovery Services, a company that helps find lost digital keys, said it received 70 requests a day from people seeking help recovering their wealth, three times as many as a month ago.

The unusual nature of cryptocurrency has left many people locked out of their Bitcoin fortune due to lost or forgotten keys. They had to watch helplessly as the price rose and fell sharply and could not benefit from their digital wealth.

Bitcoin owners locked out of their wallets speak of endless days and nights of frustration as they tried to gain access to their wealth. Many have owned the coins since Bitcoin’s inception a decade ago when no one trusted that the tokens would be worth anything.

The dilemma is a stark reminder of Bitcoin’s unusual technological foundations that set it apart from ordinary money and give it some of its most vaunted – and riskiest – properties. With traditional bank accounts and online wallets, banks like Wells Fargo and other financial firms like PayPal can provide users with the passwords for their accounts or reset lost passwords.

Bitcoin doesn’t have a company that provides or stores passwords. However, the structure of this system did not take into account how difficult it is for people to remember and secure their passwords.

“Even sophisticated investors have been unable to manage private keys at all,” said Diogo Monica, co-founder of a start-up called Anchorage, which helps companies manage the security of cryptocurrencies. Mr Monica founded the company in 2017 after helping a hedge fund regain access to one of their Bitcoin wallets.

Categories
Entertainment

Harold Budd, Composer of Spaciousness and Calm, Dies at 84

Harold Budd, Composer of Spaciousness and Calm, Dies at 84

John Cage also had an influence, but less on his music than on his ideas and courage to forge a career outside the academy. Works like “Magnus Colorado” (1969) and the 24-hour program “Lirio” (1971) included reverberant gongs and controlled lighting, fusing Mr. Budd’s compositional ideas with his interest in visual art and installation. For “The Oak of the Golden Dream” (1970), Mr. Budd used the Buchla Box, an early synthesizer, to combine an imperturbable bass drone with an evocative high-altitude melody reminiscent of Terry Riley’s early works.

Gripped by a growing sense of sterility in the classical avant-garde while teaching composition at the California Institute of the Arts from 1970 to 1976, Mr. Budd retired from public work. privately, he explored the distinct melodic simplicity that he found in music of the Middle Ages and the Renaissance.

His composition “Madrigals des Rosenengel” (1972) was the hour of birth of his mature style. A recording of the piece reached Mr. Eno, whose own thinking about music, listening and atmosphere merged into what he would call “ambient” music – one of many labels including “New Age” that Mr. Budd opposed. “I’m just not interested in this at all,” he said in a 2014 interview with The Guardian of such categorization.

Despite the break with previous work, some of Mr. Budd’s early influences remained. On his album “The Pavilion of Dreams” the alto saxophonist Marion Brown could be seen, a colleague of John Coltrane. It contained the hymn “Let’s go into the house of the Lord” with an arrangement inspired by that of Coltrane acolyte Pharoah Sanders, and “Butterfly Sunday”, a rework of Coltrane’s “After the Rain”. Other collaborators on the album were the English experimental composers Michael Nyman and Gavin Bryars.

From this point on, and especially after “Ambient 2: The Plateau of Mirrors”, Mr. Budd set a course that seldom fluctuated, but still offered plenty of variety and discovery. He performed alone and with groups, recorded with poets and wrote his own poems and made two albums of improvisations with video artist Jane Maru.

Mr. Budd is survived by two sons, Matthew and Terrence, from his first marriage to Paula Katzman; and another son, Hugo, from his marriage to Ellen Wirth, who died in 2012. Mr. Budd’s brother and stepsister died before him. He lived in South Pasadena, California.