Plutopian Week: Coltrane, Sterling, Frauenfelder, Garfield

Music of the Plutopian Spheres:

John Coltrane: A Love Supreme in Seattle. A 1965 recording of Coltrane’s band performing his masterwork “A Love Supreme” at the Penthouse Club in Seattle, featuring members of his quartet (pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) plus Pharoah Sanders on saxophone and a second bassist, Donald Rafael Garrett. From The Guardian: “Coltrane’s high, wheeling theme statements and whooping repeated figures swap with Sanders’ split-note squeals and ferocious growls, the serpentine Resolution gets a flamethrowing horn workout, bass-duet interludes bring periodic tranquillity, and Sanders’ seesawing atonal figures and a molten Tyner solo dominate the 15-minute Pursuance before the leader’s beautiful tenor-sax soliloquy steals the show on the closing Psalm. Elvin Jones’s elemental muscularity is thunderously upfront in the mix, and Tyner often sounds like the man heading for the exit that he soon turned out to be – but this is a unique document of a landmark 20th-century band at a pivotal moment.”

Plutopian Perusals:

Bruce Sterling’s ArtMaker Blog, a project associated with Share Project. “Our intent in doing this is to help the maker of technology art to understand the post-pandemic post-Internet situation, and also to help them make art. At Share Festival we’re particularly interested in the means of production of technology art — we always want to know how it’s made, and the best ways to make it.”

Plutopian thinking:

Suggested by the aforementioned ArtMaker Blog, Mark Frauenfelder’s post about “My Travel Essentials.” The Plutopian ideal of building your perfect environment; in this case, making a custom set of travel essentials. What’s on your travel checklist?

Plutopian people:

Michael Garfield’s been building his own future-focused cultural reality via his “Future Fossils” podcast, his visual art, and his music… and he’s constantly looking for ways to build community around his work and thinking.

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