The silence of our soul, which isn't even affected by external distractions, is actually more crucial but more difficult to achieve." "A lot of people have this impression that he's a bit of a recluse, sort of monk-like. Yes, when you see him. But as soon as you speak to him and get to know him, I tell you, he has the most wonderful sense of humor and a most engaging personality," once said countertenor David James of the Hilliard Ensemble, a group that began championing Pärt's music in the 1980s. When Huizenga asked Pärt how he liked being thought of as a mystic. He just laughed. "Ah," he said "that is the last thing I want to be." In April 2015 New York Live Arts will present Arvo Pärt: Journeys in Silence - A Selection of Chamber Works. It is a day-long immersion--through music, lectures and film--into the stillness and depth of Pärt's powerful music and work, curated by Peter Bouteneff of the Arvo Pärt Project at St. Vladimir's Seminary
most talented artists. It is not uncommon for acclaimed directors, writers, or ac- tors to demand the elimination of canned responses from the television projects they undertake. These demands are only sometimes successful, and when they are, it is not without a battle. What can it be about canned laughter that is so attractive to television ex- ecutives? Why are these shrewd and tested people championing a practice that their potential watchers find disagreeable and their most creative talents find personally insulting? The answer is both simple and intriguing: They know what the research says. Experiments have found that the use of canned merriment causes an audience to laugh longer and more often when humorous material is presented and to rate the material as funnier (Provine, 2000). In addition, some
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