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Hazy music wafts around him, music over which the girl—her name’s Rebecca—sings: “What’s going on? As the writer Quinn Norton has said, “Right now my field must tackle describing a world where falling in love, going to war and filling out tax forms looks the same; it looks like typing.”I grew up typing.
Hours of my adolescence passed in AOL Instant Messenger chats, in Facebook comment threads, in earnest email confessions.
As Robin puts it, Muhly’s oeuvre subverts a “Beethoven Paradigm,” common to the last century of classical music, in which an aloof artist emits a single, epochal work every few years, and for it substitutes a “Vivaldi Paradigm,” where music becomes the workaday product of a chipper, collaborative craftsman.
Reading Robin’s essay, I thought of the “practice your passion” rhetoric of life hack blogs and maker culture mags.