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DANCE

    IDEAS

    • Whose Name Is On This, Anyway?

      Good Morning,

      Swap the name on a painting and does it make a difference in how you see it? Psyche digs into “prestige bias” — the well-documented tendency to value the who over the what. Apropos, the director of the Detroit Institute of Arts announces a rediscovered early Velázquez (ARTnews), and a canvas nobody was arguing about last week becomes news.

      So today’s AI stories are really attribution stories. Tilly Norwood, the AI “actress,” gets her first feature — and her creators will label her as synthetic rather than pretend otherwise (Variety). And AI trained on human prose is now changing how humans write, a linguistic hall of mirrors in which nobody can say for certain whose name belongs on a sentence (The Guardian).

      Getting back to the importance of names: Joe Hisaishi, who scored Studio Ghibli’s films, fills Madison Square Garden with orchestral music, and the Philadelphia Orchestra just made him composer-in-residence (The New York Times).

      The highest-stakes version of this idea: the White House report alleging Smithsonian “bias” in the history it tells turns out to be riddled with errors of its own (Washington Post).

      All of our stories below.

    • The Longest-Running PBS Show In History Is, At 70, Older Than PBS Itself

      “Richard Heffner’s The Open Mind, the gleefully eggheaded talk show on which Martin Luther King Jr gave his first sit-down televised interview — continues to soldier on,” with grandson Alexander Heffner hosting since Richard’s death in 2013. – The Hollywood Reporter

    • Do We Listen/See/Read Differently When The Name Of The Artist Is Changed?

      Why should a name matter so much? Psychologists have a term that might help explain what’s happening here: prestige bias. Developed by the cultural evolution theorists Joseph Henrich and Francisco J Gil-White, the concept describes the human tendency to preferentially attend to, learn from, and value the outputs of high-status individuals. – Psyche

    • When Tamara Rojo Danced With Robots

      Such an opportunity was bound to present itself to the director of San Francisco Ballet in the 2020s. It’s no surprise that she took the opportunity — but what she has to say about the experience, while quite perspicacious, isn’t much of a surprise either. – The Times (UK)

    • Netflix Challenges France’s Requirement On What It Spends On Production In France

      “These new rules cross a line,” claims the streaming giant. “They attempt to fix in law the exact genre balance of our slate, constrain our ability to back other types of French works – drama, comedy, unscripted – and do so only for streamers, while traditional broadcasters are spared.” – Deadline

    ISSUES

    MEDIA

    MUSIC

    PEOPLE

    • Whose Name Is On This, Anyway?

      Good Morning,

      Swap the name on a painting and does it make a difference in how you see it? Psyche digs into “prestige bias” — the well-documented tendency to value the who over the what. Apropos, the director of the Detroit Institute of Arts announces a rediscovered early Velázquez (ARTnews), and a canvas nobody was arguing about last week becomes news.

      So today’s AI stories are really attribution stories. Tilly Norwood, the AI “actress,” gets her first feature — and her creators will label her as synthetic rather than pretend otherwise (Variety). And AI trained on human prose is now changing how humans write, a linguistic hall of mirrors in which nobody can say for certain whose name belongs on a sentence (The Guardian).

      Getting back to the importance of names: Joe Hisaishi, who scored Studio Ghibli’s films, fills Madison Square Garden with orchestral music, and the Philadelphia Orchestra just made him composer-in-residence (The New York Times).

      The highest-stakes version of this idea: the White House report alleging Smithsonian “bias” in the history it tells turns out to be riddled with errors of its own (Washington Post).

      All of our stories below.

    • The Longest-Running PBS Show In History Is, At 70, Older Than PBS Itself

      “Richard Heffner’s The Open Mind, the gleefully eggheaded talk show on which Martin Luther King Jr gave his first sit-down televised interview — continues to soldier on,” with grandson Alexander Heffner hosting since Richard’s death in 2013. – The Hollywood Reporter

    • Do We Listen/See/Read Differently When The Name Of The Artist Is Changed?

      Why should a name matter so much? Psychologists have a term that might help explain what’s happening here: prestige bias. Developed by the cultural evolution theorists Joseph Henrich and Francisco J Gil-White, the concept describes the human tendency to preferentially attend to, learn from, and value the outputs of high-status individuals. – Psyche

    • When Tamara Rojo Danced With Robots

      Such an opportunity was bound to present itself to the director of San Francisco Ballet in the 2020s. It’s no surprise that she took the opportunity — but what she has to say about the experience, while quite perspicacious, isn’t much of a surprise either. – The Times (UK)

    • Netflix Challenges France’s Requirement On What It Spends On Production In France

      “These new rules cross a line,” claims the streaming giant. “They attempt to fix in law the exact genre balance of our slate, constrain our ability to back other types of French works – drama, comedy, unscripted – and do so only for streamers, while traditional broadcasters are spared.” – Deadline

    PEOPLE

    • Whose Name Is On This, Anyway?

      Good Morning,

      Swap the name on a painting and does it make a difference in how you see it? Psyche digs into “prestige bias” — the well-documented tendency to value the who over the what. Apropos, the director of the Detroit Institute of Arts announces a rediscovered early Velázquez (ARTnews), and a canvas nobody was arguing about last week becomes news.

      So today’s AI stories are really attribution stories. Tilly Norwood, the AI “actress,” gets her first feature — and her creators will label her as synthetic rather than pretend otherwise (Variety). And AI trained on human prose is now changing how humans write, a linguistic hall of mirrors in which nobody can say for certain whose name belongs on a sentence (The Guardian).

      Getting back to the importance of names: Joe Hisaishi, who scored Studio Ghibli’s films, fills Madison Square Garden with orchestral music, and the Philadelphia Orchestra just made him composer-in-residence (The New York Times).

      The highest-stakes version of this idea: the White House report alleging Smithsonian “bias” in the history it tells turns out to be riddled with errors of its own (Washington Post).

      All of our stories below.

    • The Longest-Running PBS Show In History Is, At 70, Older Than PBS Itself

      “Richard Heffner’s The Open Mind, the gleefully eggheaded talk show on which Martin Luther King Jr gave his first sit-down televised interview — continues to soldier on,” with grandson Alexander Heffner hosting since Richard’s death in 2013. – The Hollywood Reporter

    • Do We Listen/See/Read Differently When The Name Of The Artist Is Changed?

      Why should a name matter so much? Psychologists have a term that might help explain what’s happening here: prestige bias. Developed by the cultural evolution theorists Joseph Henrich and Francisco J Gil-White, the concept describes the human tendency to preferentially attend to, learn from, and value the outputs of high-status individuals. – Psyche

    • When Tamara Rojo Danced With Robots

      Such an opportunity was bound to present itself to the director of San Francisco Ballet in the 2020s. It’s no surprise that she took the opportunity — but what she has to say about the experience, while quite perspicacious, isn’t much of a surprise either. – The Times (UK)

    • Netflix Challenges France’s Requirement On What It Spends On Production In France

      “These new rules cross a line,” claims the streaming giant. “They attempt to fix in law the exact genre balance of our slate, constrain our ability to back other types of French works – drama, comedy, unscripted – and do so only for streamers, while traditional broadcasters are spared.” – Deadline

    THEATRE

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