In a 2013 article Claire Chase muses on her dream to commission and premiere the ‘21st-century Density’. This performance demonstrated some of the difficulties with this idea in the actuality of twenty-first-century composition – the Work as it was perceived in the mid-twentieth century is largely displaced; the performer and her body has been rendered visible, her contribution central, and this concert is far more a portrait of Claire Chase than it is of her instrument. But Chase had in fact already accounted for this. ‘Of what will the Density of our time be made?’ she wrote, prophetically. ‘Of osmium? Of signal processing? Of wood? Of carbon? Of flesh? Of air?’

中文翻译：

---

克莱尔蔡斯：密度 2036，第六部分。厨房，纽约。

在 2013 年的一篇文章中，克莱尔·蔡斯 (Claire Chase) 沉思了她的梦想，即委托和首映“21 世纪”密度'。这场表演展示了这个想法在 21 世纪作曲的现实中的一些困难——在 20 世纪中叶被认为的作品在很大程度上被取代了；表演者和她的身体变得可见，她的贡献是核心，这场音乐会更像是克莱尔蔡斯的肖像，而不是她的乐器。但实际上蔡斯已经考虑到了这一点。'会发生什么密度我们的时间到了吗？她预言性地写道。“锇？信号处理？树木？碳的？肉的？空气？