Laurie Anderson's Big Science

Shimmering in maximal minimalism, joyful bleakness, and bodiless intimacy, Laurie Anderson’s Big Science diagnosed crises of meaning, scale, and identity in 1982. Decades later, the challenging and strange questions it poses loom even larger: How do we remain human when our identities are digitally distributed? Does technology bring us closer together or further apart? Can we experience the stillness of “now” when time is always moving? How do experiences become memories? This book attends closely to Anderson’s artistic voice, detailing its unique capacities for ambiguity and revelation. It traces the sonic histories etched in the record’s grooves, from the Cold War to a burning future, from the Manhattan skyline to the empty desert, from the opera house to the pop charts. Ultimately, in Big Science, one can hear an invitation to rise above the dualities of parts and wholes, images and essences, the lone individual and the megasystem. The first and most enduring superstar of performance art, Anderson is recognized here for pioneering philosophically rich techniques within the medium but is also taken seriously as a musician and composer. Packed with scrupulous new research, reception history, careful description, and dizzying creativity, this book is an interdisciplinary love letter to a record whose sounds, politics, and expressions of gendered identity grow more relevant each day.

“B” (Accompanying My Daughter Through Life): Critical Discourse Analysis

This study analyzes the poem “B” by Sarah Kay, through the interpretation of the various metaphors that compose it. This was poem was first published in 2011 and it is a love letter that the author sends the daughter she does not yet have. In order to do this a critical discourse analysis methodology is used (Fairclough, 1995), as well as an interpretation of the metaphors that are present in the poem (Lakoff, 2003).

Sergey Yesenin in the screenplay of V. Mayakovsky “The Story of One Nagan”

For the first time, a complex of motives associated with the image of S. Yesenin in the script by V. Mayakovsky “The Story of a Nagant”, as well as “Forget about the Fireplace” and the play “The Bedbug” are considered. A connection is established between the biographical facts of Yesenin’s life and the motives of the script, and the features of the innovative poetics promoted by Mayakovsky, revealed by him in the article “How to Make Poems” and his speech at the debate “Depressive mood among youth (“Yeseninism”)”. The “Yesenin” theme of the script is considered together with the themes of “poet and poetry”, with the accompanying motives of hooliganism, drunkenness and love in poems that also contain the “Yesenin” theme, but are included in the range of works devoted to reflections on what true art is in the era of building a new socialist state: “My speech at the show trial on the occasion of a possible scandal with the lectures of Professor Shengelli”, “Sergei Yesenin”, “A Conversation with the Financial Inspector about Poetry”, “Beat the Whites and Greens”, “Marusia Was Poisoned”, “Letter to Comrade Kostrov from Paris about the Essence of Love”, “Letter to Tatiana Yakovleva”.

Why We Fight : A Documentary Film

Why We Fight is a love letter formed into a 17 minute documentary about Guyana, the birthplace of the parents of filmmaker Alyssa Bistonath. It is a land that embodies the values, stories, and memories that Bistonath attributes to her Caribbean identity. The film acts as an inquiry — what is the diaspora’s role and responsibility towards the country? The project juxtaposes a personal narration, with letters from the diaspora, and the lives of four individuals living in Guyana. Bistonath made Why We Fight, because she was concerned with how countries like Guyana are represented in the western media, and how that representation trickles into the identities of people of colour. The film seeks to strike a balance, bridging nostalgia with contemporary beauty — overwriting the colonial and tourist tropes with the lives of real people, addressing violence, and mending political cynicism with the person inquiry.

Why We Fight : A Documentary Film

Why We Fight is a love letter formed into a 17 minute documentary about Guyana, the birthplace of the parents of filmmaker Alyssa Bistonath. It is a land that embodies the values, stories, and memories that Bistonath attributes to her Caribbean identity. The film acts as an inquiry — what is the diaspora’s role and responsibility towards the country? The project juxtaposes a personal narration, with letters from the diaspora, and the lives of four individuals living in Guyana. Bistonath made Why We Fight, because she was concerned with how countries like Guyana are represented in the western media, and how that representation trickles into the identities of people of colour. The film seeks to strike a balance, bridging nostalgia with contemporary beauty — overwriting the colonial and tourist tropes with the lives of real people, addressing violence, and mending political cynicism with the person inquiry.

love letter to my patients

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