“The most obvious application for iBeacon is tying digital information to physical places. When Apple first presented iBeacon to developers at their WWDC conference this summer, they used the example of an art museum. Instead of punching a three-digit number into a handheld tour guide, you could walk up to a painting, pull out your iPhone, and find additional information on the artwork right there waiting for you.”
“Until we rid ourselves of the notion that the best music of all time was created by a handful of men who lived an ocean away from us and who all died more than a century before any of us were born, we will never have programming that truly reflects the vast array of musical creativity all around us.”
“Architecturally, the new Kimbell addition will soon fade into the middle rank of Piano’s oeuvre, neither at the top (the Nasher and Menil) nor the bottom (the Broad Contemporary Art Museum of 2003–2008 in Los Angeles and the Morgan Library & Museum of 2000–2006 in New York.) His Fort Worth pavilion is the twenty-first museum building Piano has completed, with another four in the works, and he cannot be expected to produce a hit every time.”
“His career began in the ’50s as part of the West Coast jazz scene with Jimmy Giuffre and Chico Hamilton, recorded with wealth of jazz royalty over his career, including Ben Webster, Ella Fitzgerald, Bill Evans and Sonny Rollins.” Despite his relatively quiet profile, he was considered one of his instrument’s most influential players in all of jazz.
Joan Acocella: “God boasts to Satan, Have you seen my servant Job, so pious, so devoted to me? Satan answers, Why shouldn’t he be devoted? You have given him everything he could ever want: ‘But put forth thine hand now, and touch all that he hath, and he will curse thee to thy face.’ Well, God says, let’s see, and he gives Satan permission to ruin Job’s life.”
“I’ve found that the way to capture the truth of a character – and beyond that, to reflect the truth of how I feel – is to write microscopically. To focus on all the tiny details that, together, make sense of character. Each person’s perspective is absolutely unique; my job is to unearth all the specific events and associations that form an individual consciousness.”
Rupert Christiansen: “[These] efforts draw small but loyal audiences, usually very appreciative, and you might say at the very worst, that no harm is done. But for the critic these pop-up performances pose a quandary: how can one balance one’s desire to pat honest endeavour on the back with the sacred imperative of rigorously honest and unsentimental judgment?”
Robin Norton-Hale of OperaUpClose: “Theatre critics don’t tie themselves in knots trying to find a way to compare a production at the (rightly) well-funded RSC or National Theatre to one at … the Edinburgh Fringe. Each performance is judged on its own merits. … Far from being a poorer experience, I would argue that seeing a smaller-scale opera is simply a different one.”