“I often get calls when a spot opens up, but I don’t see myself in that position. I believe myself to not be a director because of the system. Having a male artistic director is a tradition that’s passed down, and it becomes ingrained and it’s like, ‘Oh, fuck off.’ It’s a fake system. It’s hard to break it down unless you talk about it, and I think talking about it will slowly open it up, but even a feminist ballerina like me can still realize that I can be biased at times without knowing it.”
The idea is to teach staffers about both non-verbal communication (with customers and each other) and about gracefully negotiating tight spaces. Says one restaurant choreographer, “I went into it thinking it would be almost like movement coaching, but the amount of dance terminology, spatial composition, effort and tempo decisions left me feeling each experience couldn’t be more of a choreography gig if I tried.”
Dance Magazine Published:05.24.17
Unlike some incoming directors, Ms. Kent has not tried to remake the company in her image by quickly replacing large numbers of dancers with her recruits. (S he has not let anyone go, though she has added four dancers.) Ruthlessness is not her style.
The New York Times Published:05.23.17
“I went silent with shock [on hearing the news]. I have never been the type of person to burst into tears or visibly show my emotions, and my immediate thought was that I didn’t have the right to feel emotional about this. I had just arrived on the scene and had no real history with the man, or his work for that matter.”
New York Times Published:05.23.17
“At its most general, the hard problem of consciousness is the expression of a familiar kind of puzzlement or mental cramp. We know that the brain is causally responsible, in some way or another, for consciousness – but we remain utterly baffled as to how its fatty, yoghurty matter could be up to the task. The puzzlement is not restricted to philosophers, neuroscientists or those who know a lot about the brain.”
Times Literary Supplement Published:05.25.17
“It may be that our sense of the importance of comic timing comes more from how we perceive jokes than from how they’re delivered. And, for comedians, the timing after the punch line” – as opposed to before, which is what most laypeople assume – “is what really counts.” Thomas MacMillan explains.
Science of Us Published:05.25.17
“Do you want to win that tennis match? It is outside of your control. But to play the best game you can is under your control. Do you want your partner to love you? It is outside of your control. But there are plenty of ways you can choose to show your love to your partner – and that is under your control. Do you want a particular political party to win the election? It is outside of your control (unless you’re Vladimir Putin!) But you can choose to engage in political activism, and you can vote.”
Lying, it turns out, is something that most of us are very adept at. We lie with ease, in ways big and small, to strangers, co-workers, friends, and loved ones. Our capacity for dishonesty is as fundamental to us as our need to trust others, which ironically makes us terrible at detecting lies. Being deceitful is woven into our very fabric, so much so that it would be truthful to say that to lie is human.”
National Geographic Published:06.17
When I say that education technology is not new, I’m not arguing that technologies do not change over time; or that our institutions, ideas, experiences, societies do not change in part because of technologies. But when we talk about change – when we tell stories about technological change – we must consider how technologies, particularly modern technologies like computers, emerged from a certain history, from certain institutions; how technologies are as likely to re-inscribe traditional practices as to alter them. We must consider how technology operates, in Franklin’s words, as “an agent of power and control.”
Hacked Education Published:05.24.17
“The opportunity for us to design a ground-up building for the arts forced us to ask the question: ‘What will art look like in 10 years? 20 years? 30 years?’ And the answer was that we simply could not know. Artists today are working across disciplines, in all media and all sizes. That will continue to change. The one thing that we could always be certain of is that there would always be a need for space, a need for structural loading capacity, and a need for electrical power.”
Earlier this week, in response to the budget the Trump administration submitted to Congress, the National Endowment for the Humanities released this statement: “The White House has requested that Congress appropriate approximately $42 million to NEH for the orderly closure of the agency. This amount includes funds to meet [existing] matching grant offers … as well as funds to cover administrative expenses and salaries associated with the closure.” Is the NEH giving up on its own existence? Not really, no, as Jillian Steinhauer reports.
The researchers found that the skills required fall into five clusters, only two of which are self-evidently “creative.” The other three “are not inherently creative and [are] therefore at risk of being overlooked, but … are essential to enabling the creative process.”
The Alamo Drafthouse in Austin had the idea, and it sold out so fast that they added a second date and plan to extend the idea to other cities. What’s more, the Austin Drafthouse’s social media person deftly handled all the male butthurt on Facebook. (includes examples of butthurt)
“[It’s] a device that made millions of devices that work similarly but are slightly different bend to its will. In the age of IFTTT, Alexa, Zapier, and Siri, this device has a surprising amount of value and deserves to be studied. And,” writes Ernie Smith, “I’m just the guy to do it.”
The Writers And Directors For ‘I Love Dick’ Are Mostly Female – And The Sex Scenes Are Wilder Because Of It
Showrunner Jill Soloway and several of the show’s actresses, as well as the (male) director of photography, talk about how the different atmosphere on set and in the scripts (yes, including the lack of “the male gaze”) makes everyone willing to take bigger risks.
“Adapted from a posthumously published EM Forster novel that is likewise overshadowed in reputation by other works in his canon – like, well, Howards End and A Room With a View – Merchant Ivory’s film opened hot on the heels of their broadly beloved, Oscar-garlanded adaptation of the latter. Almost immediately, it was filed away as, if not a disappointment, a lesser diversion.” But now, in the post-Brokeback, post-Moonlightera and with a new high-def restoration, Guy Lodge argues that the time for this soft-spoken romance may finally have arrived.
The Guardian Published:05.19.17
“Our behavioural data analysis of National Theatre (NT) Live screenings in 2014 (in partnership with Nesta, and referenced in the AEA report), showed that if anything there may be a small net increase in arts attendance in areas where there had been a screening.”
Angel Gil-Ordóñez: “Authority through knowledge. People respect you if you know what you are asking them to do. Then you have to be able to convey what you want. All simply. Through gestures and communication that goes beyond language. I think the orchestra is the most extraordinary achievement of humanity. Can you imagine something more sophisticated than that? One hundred people without verbal communication playing together for one hour? That goes beyond everything. Beyond thinking. To me [it] is the most incredible achievement. People making music together. It’s a miracle.”
Washington Post Published:05.25.17
“Sound therapies have long been popular as a way of relaxing and restoring one’s health. For centuries, indigenous cultures have used music to enhance well-being and improve health conditions. Now, neuroscientists out of the UK have specified which tunes give you the most bang for your musical buck. In fact, listening to that one song — “Weightless” — resulted in a striking 65 percent reduction in participants’ overall anxiety, and a 35 percent reduction in their usual physiological resting rates.”
Without interfering with its orbits in any way, by just presenting the data scaled up to our range of hearing, we hear what we readily identify as harmonious music.
The Curtis Symphony Orchestra, on tour under conductor Osmo Vänskä, had arrived in London and were being featured on BBC Radio 3’s live music-news-and-talk program, In Tune. A small group had just played part of a Mozart flute quintet, and a graduating violinist was about to play a duet with the school’s president, Roberto Díaz, when the announcement came …
Philadelphia Inquirer Published:05.25.17
Planners Of London’s New Concert Hall Should Learn Some Lessons From Hamburg’s New Elbphilharmonie – But Can They?
And no, it’s not just that the new hall shouldn’t run 920% over budget. Unfortunately, as Jack May writes, the lessons from Hamburg may be things that London just isn’t situated to do.
“The thing that I am branded with and the thing that I am denounced for, I now claim as my own. I am illegitimate, I am ambiguous. In some way I actually claim the right to ambiguity, and the right to clarity. It does me no good to say, ‘Well, I reject this and I reject that.’ I feel free to use everything, or not, as I choose.”
“The extraordinary thing about Beethoven’s hearing loss journey is that he found a way forward at every stage. Once he accepted his deafness at Heiligenstadt, it was no longer a source of shame, and he was open about it from then onwards. Even for the last 10 years of his life, when he could hear nothing, he kept composing. Many people will know the story of his conducting what seems to be an orchestra in his head at the premiere of his 9th Symphony. Eyes still shut, he had to be stopped and shown the smiling musicians, the appreciative audience applauding.”
The Guardian Published:05.25.17
For 45 years he worked at the People’s Army Theater, the main company for the Soviet and then the Russian armed forces. “Aside from his theater work, Mr. Burdonsky kept a low profile, using his mother’s surname. He said he had never visited Stalin’s grave, by the Kremlin wall.”
New York Times Published:05.24.17
“Robert Booker led the state Arts Commission through an often challenging period marked by recession-era budget reductions and major shifts in the state’s public policy environment. Nevertheless, under Booker’s leadership, the Arts Commission distinguished itself as one of the state’s most resilient, responsive, fiscally responsible agencies, and one of the nation’s boldest and most innovative state arts agencies.”
Phoenix Business Journal Published:05.24.17
“The stage of spoken-word theatre is indebted to a sense of the world that is centred on the human. On the stage of the 21st century, however, we find a new distribution of power, a new dynamic of creatures, ghosts, machines, objects. The things we once invented to define identities or let them manifest themselves on stage have lost all traction. The [human] subject – is that even a topic anymore these days?”
It was by no means a matter of presenting a finished piece to the director and cast: in fact, the actors – especially Chris Cooper, who’s used to working in film – were astonished at how much they were allowed to shape their characters’ lines. Peter Marks reports on the process, which leaned heavily on what Hnath calls “scraps.”
Washington Post Published:05.25.17
During Outvisible’s run of Oleanna, which closed in early April, the creative team (as they apparently do with all of their productions) wanted to host talk back sessions with the audience, who had just seen the show. That was until they received contact from a Dramatists representative, who holds the license to Oleanna, on behalf of David Mamet himself. According to sources they were notified that if they proceeded to have these talk back sessions or ” anything like it were to happen within two hours after the performance, that we would be charged/fined $25,000.”
“Box-office grosses, which have been climbing since 2013, rose 5.5 percent, to $1.449 billion, a new high, according to figures released on Tuesday by the Broadway League … There are bargains available for all but the buzziest shows, but still: The average price paid for a Broadway ticket during the 2016-17 season was a record $109, up from $103 the previous season.”
New York Times Published:05.23.17
“Italy has over the past two years recruited 20 highly-qualified new directors, seven of them foreigners, to shake up institutions which are richly-endowed with cultural treasures but often poorly run and badly promoted. But a regional court ruled that five of the appointments were null and void, saying that the selection process had not been transparent, that some interviews had been conducted via Skype and that the one foreigner appointed should never have been eligible.”
The Telegraph (UK) Published:05.25.17
“In its new home, expect LACMA’s permanent collection to break all the rules. The permanent collection won’t exactly be permanent. LACMA instead plans to install the collection as a continuing series of temporary exhibitions — cross-cultural and interdisciplinary. An impermanent permanent collection, the scheme is unprecedented.”
Los Angeles Times Published:05.25.17
‘Of Course It’s A Sculpture – It’s A Downward Sculpture Rather Than An Upward Sculpture’ – Anish Kapoor Talks About ‘Descension’, His Whirlpool
“One thing that makes it a sculpture is that there’s obviously artifice to it. It is artifice posing as a natural phenomenon. It’s obviously been made, but the fiction is that it hasn’t been made. That tension is an important part of the work.”
James Turrell will have nine different immersive light installations. Jenny Holzer will be showing 200 silk-screened paintings and 21 stone paintings as well as several LED displays, all (of course) featuring text. Laurie Anderson will be playing with virtual reality.
New York Times Published:05.26.17
Koons based the 45-foot-tall inflatable, currently installed at Rockefeller Center in Manhattan, on his 2015 stainless-steel sculpture of the same name. It turns out that both of them bear the proverbial striking resemblance to a porcelain titled Balerina Lenochka by Oksana Zhnikrup and the The Kiev Experimental Ceramic-Art Factory. (A Koons representative has subsequently claimed that he copied Zhnikrup’s work “under license”; no details of this license were provided.)
“A private Utah-based corporation that runs the North Central Correctional Complex in Marion, Ohio, has been sued by the nonprofit Human Rights Defense Center for blocking inmates from receiving books on ‘criminal justice policies, legal research, health care issues and other similar topics.'”
Melville House Published:05.26.17
“[Bestselling author Shea Serrano] decided on Wednesday to direct his 135,000 Twitter followers to the Carmichael’s online store. His goal was to generate 1,000 orders in one day. It took less than five hours.”
Louisville Courier-Journal Published:05.18.17
Just last month, this memoir of the author’s journey to post-Qaddafi Libya in search of his father won the Pulitzer Prize for Biography. Now it has received the £20,000 Rathbones Folio Prize – in the first year the honor has been open to both fiction and nonfiction.
The Guardian Published:05.24.17
The municipality of metro Istanbul closed 1453 Culture and Art Magazine and fired three editors for “bounderish, disrespectful and provocative content” – that content being a spray-painted “Erdo-gone! Inshallah mashallah (God willing)” on a wall behind a cat. The offending article? A cover story on a popular documentary about the city’s street cats.
“Longer on gadgetry than on literature, AWM is all about the breezy quote and the glitzy busywork toys that are now the currency of the exhibit industry: push a button, spin a wheel, drag an icon, and the gadgets spit out a thimbleful of data. It’s American Lit 101 (and more), the nutshell version. The books? Look up when you first walk in: a lot of them are stapled to a framework hanging just below the ceiling.”
Chicago Reader Published:05.24.17