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Omnivore

When technology became a musical instrument

Tiziano Bonini (IULM): The New Role of Radio and its Public in the Age of Social Network Sites. Why are songs on the radio about the same length? Garrett Martin on how college radio is dying — and we need to save it. John McDuling on the reinvention of MTV, chapter one million. Mat Honan on death and iPods: A requiem. The classical cloud: Alex Ross on the pleasures and frustrations of listening online. Can Apple and Beats fix the economics of streaming music? An epic battle in streaming music is


Paper Trail

The National Book Foundation has announced the winners of its annual 5 Under 35 program. This year’s honorees are Yelena Akhtiorskaya, nominated for her debut novel, Panic in a Suitcase; Alex Gilvarry, the author of From the Memoirs of a Non-Enemy Combatant, also his first novel; Phil Klay, for his book of short stories, Redeployment; Valeria

Syllabi

Sextet

Michael Barron"Writing about music," the saying goes, "is like dancing about architecture." If it's meant to dissuade, the warning has gone unheeded: Over the years, a number of novels about music have ingeniously

Daily Review

Sorrowtoothpaste Mirrorcream

Although "Gangnam Style" and North Korea's nuclear threats have been replayed in our media, relatively little is known, outside of Asia, about Korean contemporary life. It's tempting, then, to look to a poet such as Kim Hyesoon as being representative of Korean history and of aspects of contemporary Korean culture. At first glance, even Kim's preoccupation with gore appears to align with a distinctly Korean taste for blood and violence.

Interviews

Eula Biss

As Eula Biss began investigating immunity and public health, her interest moved from the question of fear to the question of how to move past it, and into a discussion of social ethics and care: What does an individual body—scared or not—owe the collective body?

Cinema

Film as Film: The Collected Writings of Gregory J. Markopoulos

Rebekah Rutkoff

A key figure in the New American Cinema of the 1960s, Gregory J.Markopoulos made ambitious films starting in the late ’40s, complex psychodramas and romantic meditations that used symbolic color and rapid montage. For Markopoulos, the delicate and, in his words, “divine” potential of film was too easily damaged when the artist ceded screening responsibility to curators and institutions with their own priorities, both financial and

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